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The University of Chicago Looking at Cartoons
THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174 -
The Silly Symphonies Disney's First Fantasyland
X XIII THE SILLY SYMPHONIES DISNEY’S FIRST FANTASYLAND 3 PART I THE TIFFANY LINE 5 The Skeleton of an Idea 7 The Earliest Symphony Formula 9 Starting to Tell Tales Il Remaking Fairy Tales 18 Silly Toddlers and Their Families 19 Caste and Class in the Symphonies 21 An Exception to the Silly Rules: Three Little Pigs 22 Another Exception: Who Killed Cock Robin? 25 New Direction for the Symphonies at RKO 27 Ending in a Symphony Dream World 29 On a Final Note 31 PART Il PRODUCING THE SILLY SYMPHONIES 31 The ColurnbiaYears (1929-1932) 35 The United Artists Years (I932- 1937) 45 Disney’s RKO Radio Pictures (I937- 1939) 53 THE SKELETON DANCE (I929) I14 KING NEPTUNE (I932) a5 EL TERRIBLE TOREADOR (I 929) 115 BABES IN THE WOODS (I932) 58 SPRINGTIME (1929) I18 SANTA’S WORKSHOP (I 932) 50 HELL’S BELLS (I 929) 120 BIRDS IN THE SPRING (I933) 62 THE MERRY DWARFS (I929) I22 FATHER NOAH’S ARK (1933) 64 SUMMER (1930) i 24 THREE LITTLE PIGS (1933) 66 AUTUMN (I 930) I28 OLD KING COLE (1933) 58 CANNIBAL CAPERS (I 930) I30 LULLABY LAND (I 933) 7 NIGHT (I 930) I32 THE PIED PIPER (I933) 72 FROLICKING FISH (I 930) I34 THE CHINA SHOP (I933) É4 ARCTIC ANTICS (1930) I36 THE NIGHT BEFORE CHRISTMAS (I933) 76 MIDNIGHT IN ATOY SHOP (1930) I38 GRASSHOPPER AND THE ANTS (I 934) 78 MONKEY MELODIES (I 930) I49 THE BIG BAD WOLF (1934) no WINTER (I 930) i 42 FUNNY LITTLE BUNNIES (1934) 82 PLAYFUL PAN (I 930) I44 THE FLYING MOUSE (I 934) 84 BIRDS OF A FEATHER (I93 I) I46 THE WISE LITTLE HEN (I934) 86 MOTHER GOOSE MELODIES (I 93 I) 148 PECULIAR PENGUINS (1934) 88 THE CHINA PLATE -
Taking a Joke Seriously: Mickey Mouse and William Kentridge Nienke Boer
Taking a Joke Seriously: Mickey Mouse and William Kentridge Nienke Boer MLN, Volume 128, Number 5, December 2013 (Comparative Literature Issue), pp. 1146-1169 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/mln.2013.0093 For additional information about this article https://muse.jhu.edu/article/535741 Access provided by National University of Singapore (4 Feb 2017 03:32 GMT) Taking a Joke Seriously: Mickey Mouse and William Kentridge1 ❦ Nienke Boer Transformation, metamorphosis is of course the bread and butter of animation in the studio. Something difficult to do… on the stage, to turn a cat into a telephone, gets called together by the cloth, the paper, the charcoal, the eraser. —William Kentridge, “Drawing Lesson 5: In Praise of Mistranslation.” The film opens in what appears to be the control room of a large organization: computers line the left wall, and, on a large clock, mov- ing hands illustrate the passage of time. The scene shifts abruptly to a man in a pinstriped business suit, standing in what seems to be a bedroom (wood flooring, a fireplace, a small rug and the end of a single bed), reading a letter, which moves slightly as he holds it. Then, the third scene: a difficult-to-identify structure next to the side of a road—gleaming tracks on the road suggest that it could be a tram station, but the position of the windows also hint at the security booth of a gated community or large business. A bird flies over from the top left corner of the screen, leaving a smudged trail behind it, and the scene changes again, to a close-up of the top of 1My sincere thanks to Mark Sanders for his comments on earlier versions of this article, which originated in the context of a graduate seminar he taught at New York University in Spring 2010: “Word, Image, Sound: William Kentridge and Literature.” MLN 128 (2013): 1146–1169 © 2014 by The Johns Hopkins University Press M L N 1147 a power line, where a bird (the same one?) appears at the top left corner and flies across the screen, still trailing black smudges. -
Walt Disney and His Influence in the American Society.”
UNIVERSIDAD DE CUENCA FACULTAD DE FILOSOFÍA, LETRAS Y CIENCIAS DE LA EDUCACIÓN ESCUELA DE LENGUA Y LITERATURA INGLESA “WALT DISNEY AND HIS INFLUENCE IN THE AMERICAN SOCIETY.” ABSTRACT “Walt Disney and his Influence in the American Society” is a complex topic that is explained in different aspects. All of them are based on special circumstances which are indispensable to understand the beginning, development, and success of this legendary figure. In Chapter One, there is a clear explanation of Disney´s genealogy from 1824 until 1903, his family, education, jobs, voluntary activities, personal life, some exemplifications of his first attempts at artistic talent, and his death. In Chapter Two, there are some definitions of animated cartoons. We analyze the first optical toys as a great asset in the progress of cartoons. Additionally, there is a description of some Disney´s contributions to motion pictures. In Chapter Three, there is a description of Disney´s imagination which is based on folk literature. There is an analysis relied on some of the most important Disney´s creations. In Chapter Four, there is a description of the establishment of the Disney Company in Hollywood. This AUTORAS: ROSA ELENA NIOLA SANMARTÌN MIRIAM ELIZABETH RIVERA CAJAMARCA 1 UNIVERSIDAD DE CUENCA FACULTAD DE FILOSOFÍA, LETRAS Y CIENCIAS DE LA EDUCACIÓN ESCUELA DE LENGUA Y LITERATURA INGLESA “WALT DISNEY AND HIS INFLUENCE IN THE AMERICAN SOCIETY.” Company had some wonderful achievements which were a great contribution to the world. However, complicated situations and company failures were present through its development. In the Golden Age of Animation, there were some important Disney characters which represent a great asset in the evolution of sound. -
El Departamento Musical Disney: Las Silly Symphonies Y Carl Stalling
FACULTAD DE COMUNICACIÓN Trabajo Fin de Grado El Departamento La historia de la animación tiene un nombre propio: Walt Disney. Gracias a su Musical Disney: experimentación en diversos campos de esta materia, con la ayuda de genios como Carl Stalling, consigue desarrollar la Las Silly animación y su universo de una forma perseverante y continua, adaptándose a los Symphonies diversos cambios producidos desde el nacimiento de ésta, reinventando una y otra vez el sector y añadiendo su toque y Carl Stalling mágico a la personalidad cada obra. Tutor: Colón Perales, Carlos Alumnos: Duarte del Moral, Marina Ruiz Espinosa, Pablo 4º GRADO CAV 1 Marina Duarte del Moral y Pablo Ruiz Espinosa ÍNDICE 1. RESUMEN .............................................................................................................................. 3 2. PALABRAS-CLAVE .............................................................................................................. 3 3. INTRODUCCIÓN................................................................................................................... 3 4. OBJETIVOS ............................................................................................................................ 7 5. METODOLOGÍA ................................................................................................................... 8 5.1 CONTEXTO MUSICAL ......................................................................................................................... 8 5.3 EL SONIDO ÓPTICO Y LA APARICIÓN DEL CINE -
Worlds of Wonder: National Parks, Zoos, Disney, and the Genealogies of Wonder in U.S
Worlds of Wonder: National Parks, Zoos, Disney, and the Genealogies of Wonder in U.S. Culture By Geneviève Ardouin Creedon A dissertation submitted in partial fulfillment of the requirements of the degree of Doctor of Philosophy (Comparative Literature) in the University of Michigan 2014 Doctoral Committee: Professor June M. Howard, Co-Chair Professor Peggy S. McCracken, Co-Chair Professor Philip J. Deloria Professor Vassilios Lambropoulos Professor Patricia Smith Yaeger (Deceased) © Geneviève Ardouin Creedon 2014 For Patsy, a.k.a. Tank. ii Acknowledgements The thinking, research, and writing that have gone into this dissertation were made possible with the help and support of amazing and generous friends, faculty, colleagues, and family. My time at the University of Michigan and my dissertation research have been generously funded by the Rackham Graduate School’s Rackham Merit Fellowship, Predoctoral Fellowship, Centennial Spring-Summer Fellowship, and Research Grants. Bowdoin College’s graduate scholarships for alumni have generously supplemented this funding for five of my six years at Michigan. In addition to offering me a vibrant and generous intellectual community, the Department of Comparative Literature provided teaching and additional funds to support my archival and site-based research. I am grateful to a range of University of Michigan faculty with whom I had early and important conversations that set me on my research path: Victoria Johnson, Scotti Parrish, Zeynep Gursel. Courses I took with Kader Konuk, Paul Anderson, Judith Roof, Peggy McCracken, Dorceta Taylor, David Doris, and Jay Cooke helped me navigate the multidisciplinary terrains this project traverses. Catherine Brown and Ruth Tsoffar have been deeply supportive of me and my work over the past six years. -
Silly Gabb Base2 Copia
CONTENTS X Acknowledgements XIII A Note on the Illustrations THE SILLY SYMPHONIES DISNEY’S FIRST FANTASYLAND 3 PART 1 THE TIFFANY LINE 5 The Skeleton of an Idea 7 The Earliest Symphony Formula 9 Starting to Tell Tales 11 Remaking Fairy Tales 18 Silly Toddlers and Their Families 19 Caste and Class in the Symphonies 21 An Exception to the Silly Rules: Three Little Pigs 22 Another Exception: Who Killed Cock Robin? 25 New Direction for the Symphonies at RKO 27 Ending in a Symphony Dream World 29 On a Final Note 31 PART II PRODUCING THE SILLY SYMPHONIES 31 The Columbia Years (1929-1932) 35 The United Artists Years (1932-1937) 45 Disney’s RKO Radio Pictures (1937-1939) THE SILLY SYMPHONIES A FILMOGRAPHY 51 INTRODUCTION 53 THE SKELETON DANCE (1929) 114 KING NEPTUNE (1932) 176 TOBY TORTOISE RETURNS (1936) 193 WYNKEN, BLYNKEN & NOD (1938) 56 EL TERRIBLE TOREADOR (1929) 116 BABES IN THE WOODS (1932) 178 THREE BLIND MOUSEKETEERS (1936) 196 MOTH AND THE FLAME (1938) 58 SPRINGTIME (1929) 118 SANTA’S WORKSHOP (1932) 180 THE COUNTRY COUSIN (1936) 198 MERBABIES (1938) 60 HELL’S BELLS (1929) 120 BIRDS IN THE SPRING (1933) 182 MOTHER PLUTO (1936) 202 FARMYARD SYMPHONY (1938) 62 THE MERRY DWARFS (1929) 122 FATHER NOAH’S ARK (1933) 184 MORE KITTENS (1936) 204 MOTHER GOOSE GOES HOLLYWOOD (1938) 64 SUMMER (1930) 124 THREE LITTLE PIGS (1933) 186 WOODLAND CAFÉ (1937) 206 THE PRACTICAL PIG (1939) 66 AUTUMN (1930) 128 OLD KING COLE (1933) 188 LITTLE HIAWATHA (1937) 208 THE UGLY DUCKLING (1939) 68 CANNIBAL CAPERS (1930) 130 LULLABY LAND (1933) 190 THE OLD MILL -
The Skeleton Dance
Cypriot Journal of Educational Sciences Volume 16, Issue 2, (2021) 641-658 www.cjes.eu Examining the relation between form information and movement in music education: The skeleton dance Çiğdem Eda Angı *, Niğde Ömer Halisdemir University, Faculty of Education, Department of Music Education, Niğde, Turkey. https://orcid.org/0000-0002-2611-0844 Suggested Citation: Angı, Ç. E. (2021). Examining the relation between form information and movement in music education: The skeleton dance. Cypriot Journal of Educational Science. 16 (2), 641-658. https://doi.org/10.18844/cjes.v16i2.5641 Received from January 05, 2021; revised from February 28, 2021; accepted from April 12, 2021. Selection and peer review under responsibility of Prof. Dr. Huseyin Uzunboylu, Higher Education Planning, Supervision, Accreditation and Coordination Board, Cyprus. ©2021 Birlesik Dunya Yenilik Arastirma ve Yayincilik Merkezi. All rights reserved. Abstract Providing examples suitable for the children's world in the music education given to younger age groups may reinforce the knowledge to be taught. For this reason, cartoons can be utilized for an engaging and fun lesson environment. One of the best examples of this situation is believed to be the short cartoon series Silly Symphony produced by Walt Disney. The most important feature of the cartoon that makes it significant to be used in music education is that the music was composed before the images, i.e., the images were drawn in accordance with the technical and structural characteristics of the music. The aim of the research is to examine the musical characteristics of The Skeleton Dance, the first cartoon of the series, and the relationship between form structure and movement. -
Calendario Daily Schedule Le Giornate Del Cinema Muto
SACILE DOMENICA 8 OTTOBRE DOMENICA 8 OTTOBRE 2006 DOMITOR MEETING 11 Ex Chiesa di San Gregorio Palazzo Flangini Biglia Sacile, Piazza Duomo Palazzo Ovio Gobbi 7-14 ottobre 2006 Salone degli Affreschi 19.00 - 21.00 Mercoledì 11 ottobre Orario 10-20 Inaugurazione mostra ore 13.30 Happy Hour Haghefilm 18.30-20 AIR Incontri e presentazioni L’OMBRA DI CHAPLIN per il 25° anniversario delle LE GIORNATE DEL CINEMA MUTO 2006 F alle ore 18 ogni giorno Giornate del Cinema Muto da domenica a venerdì Palazzo Carli, Sacile ASSEMBLEA AIRSC 25TH PORDENONE SILENT FILM FESTIVAL Ingresso libero 11 ottobre, ore 11 XXV EDIZIONE 6-14 OTTOBRE 2006 (Associazione Italiana per le PORDENONE, TEATRO COMUNALE GIUSEPPE VERDI ILM È POSSIBILE INSEGNARE LA Ricerche di Storia del cinema) SACILE, TEATRO ZANCANARO/CINEMA RUFFO F MUSICA DA FILM? COLLEGIUM Palazzo Ovio Gobbi PROBLEMI E PROSPETTIVE PER LA Giovedì 12 ottobre ore 16-18.30 SACILENSE SCUOLA DI MUSICA NASCITA DI UNA SCUOLA Tavola rotonda di presentazione della Ogni giorno, alle ore 13, da Sabato 14 ottobre ore 13 E IMMAGINI Scuola per la Musica da Film patrocinata domenica 8 a sabato 14 ottobre Tutti i giorni da domenica 8 dal Comune di Sacile e promossa dalle Hotel Due Leoni: 8, 9, 10, 12 e NEW DEALS IN COPYRIGHT CALENDARIO DAILY SCHEDULE DOMENICA SUNDAY 8 a venerdì 13 ottobre Giornate del Cinema Muto con le 13 ottobre AND FAIR USE 0re 11 - 12.30 Università di Udine (DAMS di Gorizia) Teatro Ruffo: 11 ottobre a cura della Programming and Traduzione in cuffia italiano/inglese solo allo Zancanaro. -
British Cartoons from Music Hall to Cinema, 1880 - 1928
ORBIT - Online Repository of Birkbeck Institutional Theses Enabling Open Access to Birkbecks Research Degree output Animating perception: British cartoons from music hall to cinema, 1880 - 1928 http://bbktheses.da.ulcc.ac.uk/28/ Version: Full Version Citation: Cook, Malcolm (2013) Animating perception: British cartoons from music hall to cinema, 1880 - 1928. PhD thesis, Birkbeck, University of London. c 2013 The Author(s) All material available through ORBIT is protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law. Deposit guide Contact: email Animating perception: British cartoons from music hall to cinema, 1880 - 1928 by Malcolm Cook Thesis submitted to BIRKBECK, UNIVERSITY OF LONDON for the Degree DOCTOR OF PHILOSOPHY (PhD) (VISUAL ARTS AND MEDIA) October 2012 1 Declaration of original work The work presented in this thesis is my own and has not been submitted for any other degree. All sources of information have been acknowledged. Signature.............................................................. Date.............................................................. 2 Acknowledgments Beyond the sources recorded in the footnotes and bibliography of this thesis, many people have provided assistance and input, and I would like to credit and thank them publicly here. Ian Christie has provided invaluable advice and ideas, allowing me to shape my own field, while gently steering me away from trouble. His boundless knowledge and enthusiasm are an inspiration. Mike Allen, Laura Mulvey, Dorota Ostrowska, and all the staff and students in the Department of History of Art and Screen Media have provided guidance, encouragement, and discussion that have contributed enormously to my work. Birkbeck is a unique institution in its commitment to combining excellence with evening teaching, which has made it possible for this thesis to be completed part-time. -
Recreation Guide Quarterly Newsletter
CITY OF MALIBU MalibuCity.org QUARTERLY NEWSLETTER and RECREATION GUIDE MARCH – MAY 2020 Quarterly Newsletter 4-6 City of Malibu Community Workshops 7 Community Services Department Staff Afterschool Enrichment Programs 7 8 310.456.2489 Spring Break Day Camps 9 Community Services Director Jesse Bobbett Ext 225 Parent & Me Programs 10 Community Services Kristin Riesgo Deputy Director Ext 350 Youth & Teen Enrichment Programs 11 Recreation Supervisor Katie Gallo Community Programs 12 Ext 363 Recreation Supervisor Chris Orosz Sports 13-14 Ext 337 Welcome to the City of Malibu Recreation Coordinator Lisa Crespo Aquatics 16-18 Ext 279 Recreation Coordinator Rachel Cummings Excursions 20 Ext 358 Senior & Active Adult Programs 21-25 Recreation Coordinator Adrianna Fiori Ext 239 Park Facilities 26 Administrative Assistant Brittany Saleaumua Ext 349 Facility Rentals 27 Parks Supervisor Andrew Belter Ext 271 General Contact Information 28 Parks Maintenance Worker Danny Delsi Registration Information 29 City Council Program Registration 30 Meets the second and fourth Monday of every month at 6:30pm at Malibu City Hall. Cultural Arts Commission About the Cover Meets the fourth Tuesday of every month at 9am at Malibu City Hall. With spring upon us, the City has expanded its outdoor Harry Barovsky Memorial and nature-themed recreation programs thanks to newly Youth Commission welcomed instructor, Marguerite Nesteruk, a knowledgeable Meets the second Monday of every month at nature and outdoor educator of over ten years. Marguerite 7pm at Malibu City Hall. Dark June-August. will be instructing a variety of new programs, including Spring Parks and Recreation Commission Break Nature Camp, which aims to provide engaging, Meets the third Tuesday of every month at 5:30pm hands-on lessons to inspire an appreciation for nature in at Malibu City Hall. -
Frame by Frame
Luminos is the Open Access monograph publishing program from UC Press. Luminos provides a framework for preserving and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org Frame by Frame The publisher and the University of California Press Foundation gratefully acknowledge the generous support of the Ahmanson • Murphy Imprint in Fine Arts. The publisher also gratefully acknowledges the generous support of the Department of Film Studies at the University of North Carolina Wilmington and, at the University of Chicago, the Department of Cinema and Media Studies, the Division of the Humanities, and Yuri Tsivian. Frame by Frame A Materialist Aesthetics of Animated Cartoons Hannah Frank Edited and with an introduction by Daniel Morgan Foreword by Tom Gunning UNIVERSITY OF CALIFORNIA PRESS University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Oakland, California © 2019 by Hannah Frank Suggested citation: Frank, H. Frame by Frame: A Materialist Aesthetics of Animated Cartoons. Oakland: University of California Press, 2019. DOI: https://doi.org/10.1525/luminos.65 This work is licensed under a Creative Commons CC BY-NC-SA license.