DOCSLIB.ORG

CHRYSTENE R. ELLS CURRICULUM VITAE 1. Personal Information 2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CHRYSTENE R. ELLS CURRICULUM VITAE 1. Personal Information 2 CHRYSTENE R. ELLS CURRICULUM VITAE 1. Personal Information e‐mail: [email protected] telephone: 306‐531‐8465 cizenship: Canadian Permanent Resident (US passport); on track for Canadian Cizenship 2. Education A. Higher Educaon 2009 ‐ University of Regina ‐ MFA Interdisciplinary Fine Arts (Visual Art, Theatre, Film) Thesis consisted of paper and 90 minute film “ Sisu: the Death of Tom Sukanen” Governor General’s Academic Gold Medal for Thesis project 2005 ‐ Expression College for Digital Arts ‐ BSc Digital Graphic Design (Animaon and Effects) 2017 (Graduaon) ‐ Vancouver Art Therapy Instute (Professional Art Therapist candidate) B. Other Arts Training 2015 Clown Kenn McCLeod, Heck Theatre, Regina, SK 2013 Shadow Puppetry Lynn Jeffries, Puppet Power Conf., Calgary, AB 2013 Viewpoints Workshop Ingrid Hansen, Int’l Fest.Animated Objects, Calgary 2010‐12 Hand‐Processing 16mm film Film Retreat (x3). SK Filmpool Cooperave 2003 Digital Concept Art Gnomon Workshop, Los Angeles 2001 Screenplay Wring University of California Los Angeles 1999 Advanced Figure Painng Leigh Hyams, UC Berkeley, California 1999 Water based Painng Leigh Hyams, Esalen Instute, Big Sur, California 1997 Digital Filmmaking Center for Electronic Arts, San Francisco 1996 Digital Graphic Arts Center for Electronic Arts, San Francisco 1988 Mask Making Dell'Arte School, Blue Lake, California 1985‐86 Theatre and Arts ION Theatre Lab, Calgary, Alberta 1984 Direcng for the Stage Eugenio Barba, Odin Theatre, Denmark 1984 Physical Performance Richard Fowler/One Yellow Rabbit, Calgary, Alberta 3. Personal Art Practice Statement My interdisciplinary art pracce is informed by study and professional pracce of theatre, puppetry, film, video, digital art, painng, sculpture, and animaon, as well as community art projects and therapeuc art processes. My interest is in the creave expression of personal narrave and the alchemy of the personal journey. 4. Awards and Honors 2016‐17 10 mo. Residency: Thom Collegiate Deaf & Hard of Hearing Prgm, SK Arts Board 2015‐16 10 mo. Residency: Thom Collegiate Deaf & Hard of Hearing Prgm, SK Arts Board 2015 Spring Residency: Thom Collegiate Deaf & Hard of Hearing Prgm, SK Arts Board 2014 Spring Markeng/Development Grant: “Sisu” feature film, Creave Saskatchewan 2013 Fall Lt. Governor General’s Arts Award: Leadership in the Arts Curriculum Vitae: Chrystene Ells • 306-531-8465 • www.chrystene.com Page 1 of 15 2013 Spring City of Regina Mayor’s Arts and Business Awards : Innovaon in the Arts 2013‐15 mulyear Residency: Common Weal Community Arts: Hello in There (SK Arts Board) 2012 Spring SK Arts Board Independent Arst: Producon (K aleidoCycle) 2012 January Werner Herzog's Rogue Film School: 1 of 65, selected from 500+ applicants 2011‐12 1 year Sask. Filmpool: This Big World (SK Arts Board Creave Partnership) 2011 Fall SK Arts Board Independent Arst: Project Development (K aleidoCycle) 2011 Spring Saskatchewan Filmpool: Producon Grant ( Crow’s Nest animaon) 2010 Summer Arst in Residence: University of Regina Visual Arts 2010 Spring Governor General’s Academic Gold Medal 2009 Summer Arst in Residence: University of Regina Visual Arts 2009 Fall University President’s Medal: Fine Arts Nominee 2009 Winter Faculty of Graduate Studies and Research Graduate Scholarship 2008 Summer Faculty of Graduate Studies and Research Graduate Scholarship 2007 Fall Faculty of Graduate Studies and Research Graduate Scholarship 2007 Summer Faculty of Graduate Studies and Research Graduate Scholarship 2007 Winter Graduate Students' Associaon Graduate Student Travel Award 2007 Winter University of Regina Media Producon Travel Award 2007 Winter University of Regina Faculty of Graduate Studies Travel Award 2007 Spring Dr. William C. Riddell Scholarship Endowment 2007 Winter University of Regina Centennial Merit Award 2006 Fall University of Regina Entrance Scholarship 2000 Bindlesff Lifeme Achievement Award 1990 Bay Area Theatre Crics Circle Award: Puppet Design, "Bitzy La Fever" 5. Adjudication and Curation 2015‐16 Co‐Arsc Director: Caligari Project Fesval of German Expressionism, Regina, SK 2015 Juror: Saskatchewan Arts Board: Independent Arsts, Theatre/Muldisciplinary 2015 Arsc Director: Internaonal Puppet Underground Film Fesval, Regina, SK 2013 Arsc Director: Internaonal Puppet Underground Film Fesval, Regina, SK 2013 Curator: PuppEx installaon, Dunlop Art Gallery, Regina, SK 2012 Curator: Sask Puppet films collecon for Calgary Int’l Fest of Animated Objects 2008 Juror: Saskatchewan FilmPool: Producon Grants for Filmmakers 2007 Juror: Saskatchewan Playwrights Centre 25 Hour Play Compeon 2006 Juror: University of Regina Fih Parallel Gallery: Exhibion Selecon 1989‐97 Bindlesff Studio Seasonal Offerings Selecon Commiee Member 4. Academic Employment A. Higher Educaon Faculty of Fine Arts, University of Regina 2008 ‐ present: Instructor/Sessional Professor ● Visual Arts: Visual Storytelling, Introducon to Intermedia ● Film: Digital 2D Animaon and Moon Graphics ● Theatre: Introducon to Stagecra Fine Arts Division, Expression College for Digital Arts, Emeryville, CA 2001 – 2006: Department Head and Instructor Courses taught at Expression College for Digital Arts Curriculum Vitae: Chrystene Ells • 306-531-8465 • www.chrystene.com Page 2 of 15 ● Film and Video Direcng ● Direcng and Performing for Animators ● Visual Storytelling: Storyboarding and Animacs ● Pre‐producon: Concept Art and Producon Design ● Animaon Principles ● Design Basics ● Sculpng and Maquee Fabricaon ● Figure Drawing, Drawing from Life, Drawing from the Imaginaon B. Other Teaching 2015‐17 Arts and Literacy D eaf and Hard of Hearing Program, Thom Collegiate, Regina, SK ● Intensive arts program to support improving literacy among DHH youth ● Visual Storytelling, Design, Colour Theory, Art History, Drawing, Media ● Filmmaking, puppetry, mask and performance ● variaons on Therapeuc Arts intervenons 2013‐17 Hello In There research project, Common Weal Community Arts, Regina, SK ● Memory box project for senior cizens based on personal narraves 2011‐13 This Big World p roject at The Saskatchewan Filmpool Cooperave, Regina, SK ● Scriptwring, storyboarding, and film pre‐producon ● Puppet and set design and fabricaon ● Puppet performance ● Film producon and eding 2011‐12 KaleidoCycle project, Globe Theatre, Regina, SK ● Ensemble development ● Clown, Puppetry and Mask performance 2007‐08 Moxie Films, Regina, SK ● Acng for the Camera ● Puppet and Prop Design and Fabricaon ● 2D Digital Graphics 2001 LEAP, Hillsdale, CA ● puppet, mask and performance classes for children 2001 San Francisco Unified School District ● Video producon and direcng, Adult Vocaonal Training San Francisco Unified School District 1994–01 ● Theatre and Performance for youth 1998 Industrial Light and Magic, San Rafael, CA ● Acng and Physical Characterizaon for Animators 1998–02 Bindlesff Studio Fine Arts Series, San Francisco, CA ● Beginning, intermediate and advanced Figure Drawing and Painng 1992‐04 Bindlesff Studio Theatre Series , San Francisco, CA ● Direcng for the Stage ● Acng, Clown, Mime, Physical Performance, Slt Walking ● Puppet Making and Puppetry ● Mask Making and Mask Play 1983‐86 Interlude Mime Theatre , Educaonal Touring, Canada‐wide ● Acng and Mime for Children and Youth Curriculum Vitae: Chrystene Ells • 306-531-8465 • www.chrystene.com Page 3 of 15 8. Projects, Exhibitions, and Performances A. Film and Animaon (producer/writer/director, except where noted) current Buffalo China ( working tle), 2:00, w/Janine Windolph: animaon/puppets current Gute Schöne, 9:00, live acon puppet film, in producon current Crow’s Nest, 1 5:00, animated and puppet film, in preproducon 2016 Der Glöckner , 15:00, 16mm B&W German Expressionist film 2015 Heart Garden, 3:30, 8mm one take film with animaon ‐ co‐director Berny Hi 2014 Hungry Bones , 3:30, 8mm one take film with animaon‐ co‐director Berny Hi 2014 Parathyroid Punk , 3:30, live‐acon puppets and animaon 2014 Drown, 3:30, 8mm one take film ‐ co‐director Berny Hi 2013 Kathleen’s Diary, 7:00, live acon puppet film 2012 It Was a Circus , 3:30, acon puppet film 2012 All in a Day’s Work, 2:00, 16mm hand‐processed film 2011 She Had Died, 4:00, 16mm hand‐processed film 2010 Véronique à vélo, 10:00, 16mm hand‐processed film current The Making of Toozle and Tinkle , 90:00 film, co‐wrien with Raul Viceral, in post 2010 High Voltage, 5:00, Director of Animated Safety Video for SaskPower/Brown Comm. 2009 Sisu: the Death of Tom Sukanen 9 5:00 film (Premiere: Montreal World Film Fest, 2009) 2006 Randy Recall animaon for documentary A lso Ran by Paul Mariano, Gravitas Films 2004 How to Survive Drawing Bootcamp , 6:00, industrial film, co‐wrien with Raul Viceral 2002 Goodbye Guy Guy , 105:00 film, co‐wrien and produced with J.J. White 2002 A Good Day for Hedvig 2:30, digital 2D Flash animaon 2001 The Search for Goo‐ah, s eries of 1 minute digital 2D Flash animaons 2001 History of Bindlesff Studio: 15:00, documentary 2000 Red Hen, 10:00, wrien by J. G. Ells 2000 Unsolved Mysteries of City Hall , 12:00, polical documentary 1999 The Aloof Director, 10:00 B&W 16mm film, wrien and directed by J.J. White B. Direcng and other Leadership Roles for Theatre and Live Performance San Francisco Bay Area (except where noted) 2012 writer, director KaleidoCycle b y Chrystene Ells with ensemble, The Globe Theatre (Regina) 2004 director Pipe Dreams and Paper Trails by Sam Chanse /Dan Weil, Bindlesff Studio 2001 director, dramaturg Dirty Laundry by Michell Arellano, Bindlesff Studio 2001 guest director Damo by Allan Manalo and Tongue in a Mood, Bindlesff Studio
Load more

Recommended publications
  • Immigration Raids Alarm Uttle Tokyo
    •• •• • PC Chronology February 12, 1982 aCl lC Cl· lZel1 (45¢ Postpaid) News 20¢ The National Publication of the Japanese American Citizens League ISSN : 0030-8579 f Whole No. 2,175 f Vol. 94 No. 6 Stand; Immigration raids alarm Uttle tokyo By PEI'ER IMAMURA tight six-block Little Tokyo that 38 were arrested, 27 of LOS ANGELES-Recent large- wnented Japanese and four zone in search of undocum­ them being Japanese. scale arrests of Japanese, Mexican workers. ented aliens, Pursglove said Both Landon and Pursglove Mexican and Latin American Dan Pursglove, supervis­ that INS agents had been noted separately that the ar­ illegal aliens by agents of the ory criminal investigator in working only from informa­ rested aliens have been re­ Immigration and Naturaliza- the Little Tokyo section, said tion givel'l to them and were leased on bonds ranging from tion Service this past week in an interview Feb. 4 that only concerned with specific $3,000 to $5,000. None was be­ ~Feb. 2) in Little Tokyo have these illegal aliens were as­ places as cited on the com- ing held. Two were dismissed alarmed businessmen and certained through complaints plaints. without charges, while sev­ community organizations and filed with INS. Total number of illegal ali­ eral are scheduled for immi­ caused panic among both doc- Agents returned to JVP on ens arrested is uncertain. gration hearings. Those who umented and undocumented Feb. 2 with more information According to Pursglove's flg­ were released on bond had workers here. on illegal aliens working in ures, 34 persons were taken several charges against But INS officials said that several other restaurants as into custody.
    [Show full text]
  • Samsung, Boost Mobile, Sony Electronics, Thomson
    Jonathan Levy 337 East 88th Street New York, NY 10128 646.623.9404 [email protected] Director of Production, Adwalker Inc., New York, NY 2006-2009 Responsible for directing and supervising all production for the US office of Adwalker, an immersive media technology solutions company. Designed, developed interactive applications for proprietary web technologies based (Java, JavaScript, XML, Flash, Flex, etc.) out of home advertising platform. Projects included media delivery to cell phones, PDAs, iPods and other mobile media devices, as well as integrated social media elements. Served as primary liaison with other technology partners. Clients: Samsung, Boost Mobile, Sony Electronics, Thomson Reuters, Emusic, Diageo, Alcone, DMG, Starcom, GM R*Works, DDB, Mediavest, NBC Universal, MTV Networks, The CW Network, Telemundo, Yahoo, Comcast, American Express, Hasbro, Unilever, Bank of America, and Wachovia. Technical Director, Pinky Dinky Doo, Cartoon Pizza, New York, NY 2004-2005 Created methodology and supervised production for the animated television series, Pinky Dinky Doo, a co-production with Sesame Workshop. Oversaw an in-house crew of over 40 Flash animators and production artists. Produced all visual effects animation for the series. Authored animation production bible. Aired on Noggin, Nick Jr., BBC and CBC in 2006. Creative Director, ADM Multimédia Bt., Budapest, Hungary 2001-2003 Developed and directed all art production for the company, which produced music and video multimedia events. Created all promotional material for both print and web applications. Clients: United Nations Mission in Kosovo (UNMIK), SOS Kinderdorf, Wizart.hu, Sziget Fesztivál, Kultiplex, and MediaWave. Senior Technical Director, Wildbrain, San Francisco, CA 1999-2001 Supervised all production for wildbrain.com, an animation portal, resulting in over fifteen hours of original Flash based content produced for the company’s website as well as for other clients.
    [Show full text]
  • 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.
    [Show full text]
  • COPYRIGHTED MATERIAL 20 084908 Bindex.Qxp 2/24/09 3:08 PM Page 482
    20_084908_bindex.qxp 2/24/09 3:08 PM Page 481 Index COPYRIGHTED MATERIAL 20_084908_bindex.qxp 2/24/09 3:08 PM Page 482 (Previous page: Kung Fu Panda’s Shifu (Facing page: Office Noise characters. (Madagascar: Escape 2 AfricaTM and uses proven teaching techniques to © 2008 The Animation Workshop, © 2008 DreamWorks Animation LLC, make Po realize that he is a kung fu and Karsten Madsen, Mads Herman used with permission. Previous page: master. Notice the clear silhouettes, Johansen, Laerke Enemark, Torben S. Kung Fu PandaTM and © 2008 telling body language, and easy-to- Christensen.) DreamWorks Animation LLC, used read facial expressions.) with permission.) 482 INDEX 20_084908_bindex.qxp 2/24/09 3:08 PM Page 483 Index • A • Aliasing effects, 30, 82, 298, 300 329, 343–347 AAF file format, 468 and antialiasing, 282 file formats, 356–358 character. See Character Aardman Studios, 33 spatial, 281–282 getting ready, 358–360 animation Abel (Robert) and Associates, temporal, 282 getting started, 86–89 crowd, 394, 396, 400 19, 20, 21 Alias Research, 29 hand-drawn, 296 dynamics simulation, A/B roll editing, 448 Alien Song, 28, 29, 241 history of. See Computer 374–382 Absolute position, 343 Aligning, 148, 164 graphics, history of facial. See Facial animation Absolute values, 101 Alpha channel, 267, 437, 445 information sources, 16 flock, 383–386 Abyss, The, 20, 23 Altitude, 241 limited, 311–312 fundamental, 295–305 Academy of Motion Picture Ambient light, 222, in live action movies, 27, goal-oriented, 386–390 Arts and Sciences (AMPA), 229–230, 231, 239,
    [Show full text]
  • The Hollywood Cinema Industry's Coming of Digital Age: The
    The Hollywood Cinema Industry’s Coming of Digital Age: the Digitisation of Visual Effects, 1977-1999 Volume I Rama Venkatasawmy BA (Hons) Murdoch This thesis is presented for the degree of Doctor of Philosophy of Murdoch University 2010 I declare that this thesis is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary education institution. -------------------------------- Rama Venkatasawmy Abstract By 1902, Georges Méliès’s Le Voyage Dans La Lune had already articulated a pivotal function for visual effects or VFX in the cinema. It enabled the visual realisation of concepts and ideas that would otherwise have been, in practical and logistical terms, too risky, expensive or plain impossible to capture, re-present and reproduce on film according to so-called “conventional” motion-picture recording techniques and devices. Since then, VFX – in conjunction with their respective techno-visual means of re-production – have gradually become utterly indispensable to the array of practices, techniques and tools commonly used in filmmaking as such. For the Hollywood cinema industry, comprehensive VFX applications have not only motivated the expansion of commercial filmmaking praxis. They have also influenced the evolution of viewing pleasures and spectatorship experiences. Following the digitisation of their associated technologies, VFX have been responsible for multiplying the strategies of re-presentation and story-telling as well as extending the range of stories that can potentially be told on screen. By the same token, the visual standards of the Hollywood film’s production and exhibition have been growing in sophistication.
    [Show full text]
  • K I R K H E N D E R S
    K i r k H e n d e r s o n 27 Rosemont Avenue San Anselmo, CA 94960 415 459-5181 • c 415 305-1342 [email protected] IMAGING CONSULTANT – WRITER - DIRECTOR Experienced professional working within a broad spectrum of the arts including feature films, television, games and advertising. Versed in motion graphics, keen timing sense, good written and verbal skills, team player, schedule conscious, comfortable in a fast paced environment, goal oriented. Can work in-house or from my studio space, well equipped for pixel and pencil. Software: Photoshop, After Effects, Illustrator, Final Cut Pro. INDEPENDENT (2001 – Present) 2015 FINN TAYLOR PRODUCTIONS – “UNLEASHED” (feature film) storyboards MEKANISM – “SELF/LESS” (feature film) storyboards TELLTALE GAMES “TALES FROM THE BORDERLANDS 4” (game) storyboards 2013-4 KING BOLDEN LLC – “BOLDEN!” (feature film) key production storyboard artist JONATHAN PARKER FILMS – “THE ARCHITECT” (feature film) conceptual designs RAZMATAZZ FILMWORKS – “SERPENT” (feature film) storyboards TEAK MOTION GRAPHICS - SONY PS4 (game pitches) Storyboards BODEGA STUDIOS – NEW YORK LIFE COMMERCIAL storyboard AT&T FOUNDRY – “TESLA,” “INMOTION,” “PGA” presentation artwork TUACAHN CENTER FOR THE ARTS – “STARLIGHT EXPRESS” storyboards and stage layouts 2012 ZYNGA – BATTLE DRAGONS (game) character and environmental concepts SPYPOST – “NBC SUNDAY NIGHT FOOTBALL” SHOW OPEN storyboards for animatics TUACAHN CENTER FOR THE ARTS – DISNEY’S “ALADDIN 3D” storyboards and stage layouts INVISION - SPECIAL OLYMPICS, EMC2 (webcasts) storyboard artist UBISOFT - ASSASSIN 3 (game) storyboard artist 2011 LIGHTSTREAM ANIMATION - “MILES ACROSS THE SEA” (PBS TV series) episode production storyboard artist SPOOKY COOL LABS - “THE WIZARD OF OZ” (game) character design concepts CURIOUS PICTURES - “EUREKA” (SYFY Channel TV series) storyboards – visual concepts MICROSOFT – SLATE (webcast) illustrations BISHOP CUBES (toy product) motion graphics 2010 “HEMINGWAY & GELLHORN” (feature film) motion graphics, storyboards IWIN INC.
    [Show full text]
  • SHOOT Digital PDF Version, May 25, 2007, Volume 48, Number 9
    www.shootonline.com Dir. Stacy Wall Nir Bashan Lands Wreaks Havoc On “Hot Date” For The Base Paths Honda In Spec For Gatorade Viral Webisode page 12 page 13 THE LEADING PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION May 25, 2007 $6.00 Director Yael Staav Finds Furlined Spot Roost AICP Show Having shifted her Canadian repre- Looks To sentation from Reginald Pike to Soft AAgencygency PedigreePedigree Citizen, Staav—who had been repped stateside by Biscuit Filmworks—now Past, Future lands at Furlined for both commer- Advertising Shop Artisans Featured Prominently By Robert Goldrich cials and music videos in the U.S. NEW YORK—In previewing the Among her notable credits is Dove’s In SHOOT’s Fifth Annual New Directors Showcase 16th annual AICP Show, slated for “Evolution,” which she co-directed its June 5th premiere at New York’s with O&M Toronto’s Tim Piper. A SHOOT Staff Report Museum of Modern Art (MoMA), See page 4 SHOOT finds itself having to look NEW YORK—SHOOT’s fifth annual New Directors Showcase—marked in opposite directions—with one eye by an evening screening, panel discussion and reception this week DP Feedback On HD, New cast towards the future, the other (5/23) at the Directors Guild of America (DGA) Theatre in New York— Creative Opportunities getting a glimpse of much needed offers a total of 30 helmers (25 individual directors, a three-person A trio of noted cinematographers context with the induction of this team and a directorial duo). weighs in on HD lensing spanning year’s honorees and a sense of how Prominent in the mix are ad agency artisans who have acted on commercials and new media projects.
    [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]
  • Sanjays Superteam Studyguide-New
    ABOUT DISCUSSION & SUPPLEMENTAL ANIMATION ABOUT THE FILM EXERCISES RESOURCES OVERVIEW PIXAR FILM PRESENTATION TEAM Join director Sanjay Patel and producer Nicole Grindle for an insightful peek behind the curtains of Pixar Animation Studio’s latest short, Sanjay’s Super Team. In the presentation the filmmakers will discuss the production process as well as the unique inspiration for this incredibly personal film that features superheroes like you’ve never seen them before. The Bay Area is a wonderful melting pot made up of people from all around the world that is reflected in the diversity seen in its classrooms. We hope that by taking part in this presentation and hearing how Sanjay embraced his own heritage and family traditions to create this story your students will take a moment to examine their own family history and be inspired to share those stories with friends and classmates. This interactive multimedia program will also provide many opportunities for connections with STEAM curriculum. Grades 3-8 Suggested Subject Areas: Arts, Computer Science, English, Peer/ Youth Issues, Religion, Social Studies PRESENTATION TEAM SELECTED FILMOGRAPHY DISCUSSION AND EXERCISES SUPPLEMENTAL RESOURCES ANIMATION OVERVIEW ABOUT PIXAR FILM In “Sanjay’s Super Team,” the new short film from Pixar Animation Studios, accomplished artist Sanjay Patel uses his own experience to tell the story of a young, first-generation Indian-American boy whose love for western pop culture comes into conflict with his father’s traditions. Sanjay is absorbed in the world of cartoons and comics, while his father tries to draw him into the traditions of his Hindu practice.
    [Show full text]
  • Animation Ken A
    The Advanced Art of © 2011 Course Technology, a part of Cengage Learning. Stop-Motion Animation Ken A. Priebe ALL RIGHTS RESERVED. No part of this work covered by the copyright herein may be reproduced, transmitted, stored, or used in any form or by any means graphic, electronic, or mechanical, including but not limited to Publisher and General Manager, photocopying, recording, scanning, digitizing, taping, Web distribution, Course Technology PTR: information networks, or information storage and retrieval systems, except Stacy L. Hiquet as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of the publisher. Associate Director of Marketing: Sarah Panella For product information and technology assistance, contact us at Cengage Learning Customer & Sales Support, 1-800-354-9706. Manager of Editorial Services: For permission to use material from this text or product, submit all Heather Talbot requests online at cengage.com/permissions. Further permissions questions can be e-mailed to Marketing Manager: [email protected]. Jordan Castellani Acquisitions Editor: Heather Hurley All trademarks are the property of their respective owners. Cover image from Coraline courtesy of and © Focus Features/The Kobal Project Editor: Dan Foster, Collection. Additional cover images courtesy of and © Lucas Wareing, Scribe Tribe Ron Cole, and Justin and Shel Rasch. Technical Reviewer: Back cover images © Brett Foxwell, Ryan McCulloch, and Ken Priebe. Lionel I. Orozco Author photo by Jeff
    [Show full text]
  • INFORMATION to USERS This Manuscript Has Been Reproduced
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in ^ewriter face, while others may be from an y type of computer printer. The qnaliQr of this reproduction is dependent upon the quali^ of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and inproper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manusciipt and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the badt of the book. Photogr^hs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Z eeb Road. Ann Arbor. Ml 48106-1346 USA 313.'761-4700 800/521-0600 INFORMAL COMPUTER-ART EDUCATION: A FOCUS ON THE ART AND HISTORICAL IMPACT OF COMPUTER GENERATED SPECIAL VISUAL EFFECTS AND THE PEDAGOGY OF THE ARTISTS WHO CREATE THEM PROFESSIONALLY IN THE SAN FRANCISCO BAY AREA PRODUCTION COMPANIES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Garth Anthony Gardner, B.A., M.A.
    [Show full text]
  • Music, Sound & Animation
    April 1997 Vol. 2 No. 1 Music,Music, SoundSound && AnimationAnimation Andrea Martignoni on Pierre Hébert’s La Plante humaine William Moritz on The Dream of Color Music Carl Stalling’s Humor Voice Acting 101 Table of Contents 3 Editor’s Notebook A Word on Music and Animation; Harry Love. 5 Letters to the Editor The Thief and the Cobbler. Children’s Workshops; Errata. 8 The Ink and Paint of Music Amin Bhatia recounts a day in his life as an “electronic composer” for animated TV shows, explaining his tools and techniques. 11 The Burgeoning of a Project: Pierre Hébert’s La Plante humaine [English & Italian] Andrea Martignoni delves into Pierre Hébert’s radical method for marrying animation with music. 20 The Dream of Color Music, and Machines That Made it Possible William Moritz gives a quick and dazzling historical overview attempts to create visual music using “color organs.” 25 Who’s Afraid of ASCAP? Popular Songs in the Silly Symphonies From 1929 to 1939, Disney’s Silly Symphonies united animation with a rich array of music, including such songs as “Who’s Afraid of the Big Bad Wolf.” J.B. Kaufman reports. 28 Carl Stalling and Humor in Cartoons Daniel Goldmark shows how Carl Stalling, who may have been the most skilled and clever composer of car- toon music Hollywood ever had, used music to create gags and help tell a story at the same time. 31 Voice Acting 101 So, you want to be a voice actor? Well, Joe Bevilacqua tells you all you ever wanted to know, drawing on his experience and that of some of Hollywood’s top voice talent.
    [Show full text]