The Society for Animation Studies Newsletter ISSN: 1930-191X
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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. -
Library of Congress Classification
T TECHNOLOGY (GENERAL) T Technology (General) Periodicals and societies. By language of publication 1 English 2 French 3 German 4 Other languages (not A-Z) (5) Yearbooks see T1+ 6 Congresses Industrial museums, etc. see T179+ International exhibitions see T391+ 7 Collected works (nonserial) 8 Symbols and abbreviations Dictionaries and encyclopedias 9 General works 10 Bilingual and polyglot Communication of technical information 10.5 General works Information centers 10.6 General works Special countries United States 10.63.A1 General works 10.63.A2-Z By region or state, A-Z 10.65.A-Z Other countries, A-Z 10.68 Risk communication 10.7 Technical literature 10.8 Abstracting and indexing Language. Technical writing Cf. QA42 Mathematical language. Mathematical authorship 11 General works 11.3 Technical correspondence 11.4 Technical editing 11.5 Translating 11.8 Technical illustration Cf. Q222 Scientific illustration Cf. T351+ Mechanical drawing 11.9 Technical archives Industrial directories 11.95 General works By region or country United States 12 General works 12.3.A-Z By region or state, A-Z Subarrange each country by Table T4a 12.5.A-Z Other regions or countries, A-Z Subarrange each country by Table T4a 13 General catalogs. Miscellaneous supplies 14 Philosophy. Theory. Classification. Methodology Cf. CB478 Technology and civilization 14.5 Social aspects Class here works that discuss the impact of technology on modern society For works on the role of technology in the history and development of civilization see CB478 Cf. HM846+ Technology as a cause of social change History Including the history of inventions 14.7 Periodicals, societies, serials, etc. -
Animating Race the Production and Ascription of Asian-Ness in the Animation of Avatar: the Last Airbender and the Legend of Korra
Animating Race The Production and Ascription of Asian-ness in the Animation of Avatar: The Last Airbender and The Legend of Korra Francis M. Agnoli Submitted for the degree of Doctor of Philosophy (PhD) University of East Anglia School of Art, Media and American Studies April 2020 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 2 Abstract How and by what means is race ascribed to an animated body? My thesis addresses this question by reconstructing the production narratives around the Nickelodeon television series Avatar: The Last Airbender (2005-08) and its sequel The Legend of Korra (2012-14). Through original and preexisting interviews, I determine how the ascription of race occurs at every stage of production. To do so, I triangulate theories related to race as a social construct, using a definition composed by sociologists Matthew Desmond and Mustafa Emirbayer; re-presentations of the body in animation, drawing upon art historian Nicholas Mirzoeff’s concept of the bodyscape; and the cinematic voice as described by film scholars Rick Altman, Mary Ann Doane, Michel Chion, and Gianluca Sergi. Even production processes not directly related to character design, animation, or performance contribute to the ascription of race. Therefore, this thesis also references writings on culture, such as those on cultural appropriation, cultural flow/traffic, and transculturation; fantasy, an impulse to break away from mimesis; and realist animation conventions, which relates to Paul Wells’ concept of hyper-realism. -
KPMG FICCI 2013, 2014 and 2015 – TV 16
#shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 kpmg.com/in ficci-frames.com We would like to thank all those who have contributed and shared their valuable domain insights in helping us put this report together. Images Courtesy: 9X Media Pvt.Ltd. Phoebus Media Accel Animation Studios Prime Focus Ltd. Adlabs Imagica Redchillies VFX Anibrain Reliance Mediaworks Ltd. Baweja Movies Shemaroo Bhasinsoft Shobiz Experential Communications Pvt.Ltd. Disney India Showcraft Productions DQ Limited Star India Pvt. Ltd. Eros International Plc. Teamwork-Arts Fox Star Studios Technicolour India Graphiti Multimedia Pvt.Ltd. Turner International India Ltd. Greengold Animation Pvt.Ltd UTV Motion Pictures KidZania Viacom 18 Media Pvt.Ltd. Madmax Wonderla Holidays Maya Digital Studios Yash Raj Films Multiscreen Media Pvt.Ltd. Zee Entertainmnet Enterprises Ltd. National Film Development Corporation of India with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars: FICCI-KPMG Indian Media and Entertainment Industry Report 2015 Foreword Making India the global entertainment superpower 2014 has been a turning point for the media and entertainment industry in India in many ways. -
CHAPTER 1 INTRODUCTION 1.0 Background of Study the Purpose
CHAPTER 1 INTRODUCTION 1.0 Background of study The purpose of this dissertation is to study the intertextual references that are incorporated into the formation of the fictional world of the Nickelodeon animation Avatar: The Last Airbender. These intertextual references are drawn from cultures and practices in our world and fitted into the creation of an animated world. Intertextuality is a concept that does not just appear in written texts but exists in all forms of texts. Chandler (1994, p. 143) notes that not anyone, even for the first time, can “read a famous novel or poem, look at a famous painting, drawing or sculpture, listen to a famous piece of music or watch a famous play or film without being conscious of the context in which the text had been reproduce, drawn upon, alluded to, parodied and so on”. His statement goes to show that intertextuality is everywhere and in everything around us, like the materials we read, the images that we see and the music that we listen to. In this study, we would see how intertextuality plays a heavy role in the portrayal of an animation series. The animation chosen for this study is a unique one, initially targeted for school- going children, but which eventually appealed to a wide range of audiences from various ages and demographics instead. Avatar is created from a blend of Western and Eastern cultures—conceptualized from American producers with backgrounds in Japanese anime and Hong Kong cinema, animated in Korea and voiced by American actors. Thus, this animation does not fall strictly into the category of an American animation or a Japanese anime, but rather, it is a new breed of animation which is a combination of the two. -
Designing Learning Futures Digital Media & Learning Conference
DESIGNING LEARNING FUTURES DIGITAL MEDIA & LEARNING CONFERENCE MARCH 3-5, 2011 // LONG BEACH, CALIFORNIA SPONSORS OVERVIEW About the Theme: Designing Learning Futures Conference Chair and Committee Keynotes and Plenary Session Panelists CONFERENCE SCHEDULE [9] Overview [10] March 3, 2011 [11] March 4, 2011 [11] March 5, 2011 CONFERENCE INFORMATION Wireless and Social Media at DML2011 Conference Receptions and Gatherings CONFERENCE PROGRAM ABSTRACTS [15] March 3, 2011 [28] March 4, 2011 [51] March 5, 2011 CONFERENCE PROGRAM DEMOS AND EXHIBITS March 3, 2011: Mozilla Science Fair March 4, 2011: Demos & Exhibits Sponsored by the Pearson Foundation MAPS Conference Venue Maps Map of Local Area GENERAL INFORMATION About Long Beach Travel and Accommodation Local Cuisine SUPPLEMENTS RoadTrip Nation DMLcentral DML Competition DESIGNING LEARNING FUTURES DIGITAL MEDIA & LEARNING CONFERENCE Hilton Conference & Meeting Center // Long Beach, CaliforniaMarch 3-5, 2011 CONFERENCE CHAIR Katie Salen CONFERENCE COMMITTEE Kimberly Austin Student Volunteers Chair danah boyd Emerging Platforms and Policies Chair Sheryl Grant DML Competition Liason Chair Heather A. Horst Local Organizing Committee Chair Trebor Scholz Social Media Chair Mark Surman New Collectives Chair S. Craig Watkins Youth, Digital Media and Empowerment Chair KEYNOTE PRESENTERS Alice Taylor Muki Hansteen-Izora The Digital Media and Learning Conference is an annual event supported by the MacArthur Foun- dation and organized by the Digital Media and Learning Research Hub at University of California, Irvine. The conference is meant to be an inclusive, international and annual gathering of scholars and practitioners in the field, focused on fostering interdisciplinary and participatory dialog and linking theory, empirical study, policy, and practice. SPONSORS UNIVERSITY OF CALIFORNIA UC HUMANITIES RESEHRARCH INSTITUTEI DML hub CONFERENCE OVERVIEW The Digital Media and Learning Conference 2011 is the second annual event organized by the Digital Media and Learning Hub at the University of California, Irvine. -
International Buddhist Film Festival 7–17 May
do something different International Buddhist Film Festival 7–17 May IBFF-A5-3.indd 1 8/4/09 14:04:40 The Many Faces Events at the V&A: of Buddhism is a series An International Forum on of art and cultural events Buddhism and the Arts Today drawn from and inspired Sat 25 Apr 2pm – 5.30pm The forum aims to develop a shared and stronger by the Buddhist traditions. understanding of the area in which contemporary art practice resonates with Buddhist thought. It includes The events, to be presented contributions from international contemporary artists including Lin Hwai-min, choreographer and founder of in London from Saturday Cloud Gate Dance Theatre in Taiwan; Meredith Monk, the American composer, singer, and choreographer; 25 April to Sunday 17 African-American artist Sanford Biggers; and South Korean artist Kimsooja. Jacquelynn Baas, independent May, will include visual scholar and Director Emeritus of the University of California Berkeley Art Museum and Pacific Film Archive arts, artist talks, dance, will be moderating the forum. films and more. Gallery of Buddhist Sculptures in Asia The purpose of this series is to instil and Opens Wed 29 Apr encourage a better understanding and The Robert H. N. Ho Family Foundation Gallery, appreciation of Buddhism, its basic messages the first gallery for Buddhist sculpture in the UK will display highlights from the V&A’s world-class collection of interdependence and compassion, and their of Buddhist sculpture ranging from monumental Chinese numerous connections to all aspects of our lives. temple sculptures to small portable gilded Buddhas and The Many Faces of Buddhism is will include rare pieces which will go on display in the presented in London by The Robert H. -
20 21 05.13- 05.20
20 21 05.13- 05.20 Proclaim your love of cinema in style! T-SHIRTS, SOCKS, SWEATSHIRTS, JOGGERS AVAILABLE FOR PURCHASE AT WILDWOODPRODUCTIONS.COM Welcome A reckoning has occurred for cinephiles, In this guide are the films our team of cu- especially over the last year when most rators have loved and been inspired by in public cinema spaces have remained this distinctly unlovable year. They’ve been closed or inaccessible: It’s a streaming rays of light for us, and hopefully they will world and we are just living in it, trying to be for you, too. These new selections are watch movies. However, it can be difficult often in dialogue with great movies chosen to find good movies to watch amongst from across all eras of international cine- the over-stuffed, yet under-nourished ma history. We’re grateful to share these libraries and catalogues of even the most discoveries with an audience of equally popular home viewing providers. Just ask passionate moviegoers, who themselves anyone who has killed an evening in that become inspiring recommenders of cin- quintessentially modern wild goose chase: ema. Now, the 100+ movies in this guide endlessly scrolling through a streamer’s are yours to react to, wrestle with, and, if gallery of poster art, hunting for something you like, tell a friend about. appealing to watch. It’s easier finding a We all know it’s been a long, weird year vaccine appointment. since the 2020 fest was canceled. But In a recently published essay, the legend- spring is here, and there may just be a ary director and indispensable cinema light at the end of the tunnel. -
Tales of the Tribes: Animation As a Tool for Indigenous Representation
Tales of the Tribes: Animation as a Tool for Indigenous Representation submitted by Tara Douglas A thesis submitted in partial fulfillment of the requirements of Bournemouth University for the degree of Professional Doctorate (ProfD) September 2015 COPYRIGHT STATEMENT This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and due acknowledgement must always be made of the use of any material contained in, or derived from, this thesis. Signature of Author . Tara Douglas Contents Abstract . … … … i Acknowledgements . iii List of Images . … iv Index to the Audio Visual Artefacts and Appendices for Tales of the Tribes: Animation as a Tool for Indigenous Representation. vi 1 Introduction . 1 1.1 Background to the Study . 4 1.2 The Indigenous Groups of this Study . 8 1.3 The Indigenous Voice . 19 1.4 The Place of Indigenous Animation in the Animation Industry . 10 1.5 The Practice . 13 2 Contextual Review . 16 2.1 The Literature Review. 17 2.1.1 The People of the Study. … . 17 2.1.2 Indigenous Cultural and Artistic Practices. 20 2.1.3 The Impact of Representation through the Colonial Lens. 21 2.1.4 Self-representation for the Postcolonial Context. 22 2.1.5 The Influence of Colonial Attitudes on Indigenous Art . 24 2.1.6 Neo-colonialism and the Narrative of Globalization . 26 2.1.7 The Legacy of Colonialism: The Animation Industry in India. 27 2.1.8 Expanding Markets and the Commercialization of Indigenous Culture.31 2.2 A Review of Compatible Practice . -
RMCAD Catalog 2012-2013 TABLE of CONTENTS Welcome to Rocky Mountain College of Art + Design!
RMCAD Catalog 2012-2013 TABLE OF CONTENTS Welcome to Rocky Mountain College of Art + Design! Rocky Mountain College of Art + Design (RMCAD) was established in 1963 by Philip J. Steele, who had a vision to provide students with a quality education in art and design. RMCAD has grown a great deal since its comparatively modest beginnings and now thrives on a lush, historic campus including more than 23 acres of land and 16 buildings. Our campus is marked by a strong sense of community, creativity, and a tradition of keeping the personal, educational and professional development of students at the heart of the College. The strength of RMCAD is its students and faculty, and the personal touch that pervades all departments and services at the College. RMCAD is a truly exceptional place, engaged with the Denver art community and beyond. Creativity is the thread that weaves together the faculty, students and staff of RMCAD. You will experience that creativity through the learning experience, working with professional, practicing faculty, and the richness of campus opportunities and activities. Here at RMCAD, your ambition and creativity become our common mission, your academic and professional success is our shared success. If your goal is to become one of the truly innovative professional artists, designers, scholars or leaders of tomorrow, then you belong at Rocky Mountain College of Art + Design. Warmest Regards, Dr. Maria Puzziferro President + Provost 1 History of the College Accreditation Rocky Mountain College of Art + Design was founded in 1963 by Philip J. Rocky Mountain College of Art + Design is accredited by The Higher Learning Steele. -
Reincarnation, Rebirth, Transmigration
Reincarnation, Rebirth, Transmigration Sumitra Phoenix Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy (by creative work and dissertation) December 2016 Victorian College of the Arts University of Melbourne 1 Thesis Reincarnation, rebirth, transmigration This thesis sought to examine the common elements in reincarnation beliefs, as encountered in stories from world religions and cultures, in scholarly literature and studies, in films made from 1990 to 2010, and in the lived experiences of thirty yoga practitioners over the past fifty years. It then sought to incorporate these recurring themes into the screenplay and the final production of an engaging, hand drawn, narrative, animated film. Abstract To achieve the aims of the thesis, interviews were conducted with 33 participants, all of whom had practised yoga or meditation. After analysing these interviews, six main themes were identified. Participants talked of how they remembered past lives in meditation, dreams, and visions. They mentioned that visiting a particular place sparked memories of having been there in another era. They revealed relationships with friends and family that continued through different lifetimes. Many of them remembered a moment of death, particularly if the death was violent. Most of them had these experiences within a year of beginning an intense practice of yoga or meditation. Finally, participants were asked about authenticity, and whether these stories could be verified. From the themes identified in the interviews, a narrative screenplay was written. From this screenplay, a 14 minute animation was developed with added music which was specially composed for this film. The animation is entitled ‘The Reincarnation of Pearl and Carly.’ In addition, a representative sample of international films completed since 1990 were analysed by applying the six themes arising from the interviews to explore the universality of the themes as expressed in this medium . -
DQ Entertainment (International) Limited (Our Company Was Incorporated on April 13, 2007 As “Animation and Multimedia Private Limited” in Hyderabad, Andhra Pradesh
RED HERRING PROSPECTUS Dated February 20, 2010 Please read section 60B of the Companies Act, 1956 100% Book Building Issue DQ Entertainment (International) Limited (Our Company was incorporated on April 13, 2007 as “Animation and Multimedia Private Limited” in Hyderabad, Andhra Pradesh. The name of our Company was changed to “DQ Entertainment (International) Private Limited” by a special resolution passed at the EGM held on January 10, 2008. The status of our Company was changed to a public limited company by a special resolution of the members passed at an EGM held on July 25, 2009. The fresh certificate of incorporation consequent on change of status from private to public was granted to our Company on September 10, 2009 by the RoC. For changes in our name and our registered office see “Our History and Certain Corporate Matters” on page no. 92 of this Red Herring Prospectus) Registered Office: 644, Aurora Colony, Road Number 3, Banjara Hills, Hyderabad 500 034 Tel.: + 91 40 2355 3726/27, Fax: + 91 40 2355 2594 Company Secretary and Compliance Officer: Ms Anita Sunil Shankar Email: [email protected] ; Website: http://www.dqentertainment.com OUR COMPANY IS PROMOTED BY MR. TAPAAS CHAKRAVARTI AND DQ ENTERTAINMENT (MAURITIUS) LIMITED PUBLIC ISSUE OF 16,048,011 EQUITY SHARES OF RS. 10 EACH OF DQ ENTERTAINMENT (INTERNATIONAL) LIMITED (“OUR COMPANY” OR “THE ISSUER”) FOR CASH AT A PRICE OF RS. [y] PER EQUITY SHARE (INCLUDING A SHARE PREMIUM OF RS. [•] PER EQUITY SHARE) AGGREGATING RS. [•] (THE “ISSUE”). THE ISSUE INCLUDES A RESERVATION OF UP TO 321,011 EQUITY SHARES OF RS.