The Lounsbury Tree Family Newsletter #34 Fall 2000 Jim Jurista - Editor Welcome! Wow! Fall Is Already Gone and Here I Am Pulling Together the Next Issue of the Tree
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Digital Surrealism: Visualizing Walt Disney Animation Studios
City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2017 Digital Surrealism: Visualizing Walt Disney Animation Studios Kevin L. Ferguson CUNY Queens College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/205 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 1 Digital Surrealism: Visualizing Walt Disney Animation Studios Abstract There are a number of fruitful digital humanities approaches to cinema and media studies, but most of them only pursue traditional forms of scholarship by extracting a single variable from the audiovisual text that is already legible to scholars. Instead, cinema and media studies should pursue a mostly-ignored “digital-surrealism” that uses computer-based methods to transform film texts in radical ways not previously possible. This article describes one such method using the z-projection function of the scientific image analysis software ImageJ to sum film frames in order to create new composite images. Working with the fifty-four feature-length films from Walt Disney Animation Studios, I describe how this method allows for a unique understanding of a film corpus not otherwise available to cinema and media studies scholars. “Technique is the very being of all creation” — Roland Barthes “We dig up diamonds by the score, a thousand rubies, sometimes more, but we don't know what we dig them for” — The Seven Dwarfs There are quite a number of fruitful digital humanities approaches to cinema and media studies, which vary widely from aesthetic techniques of visualizing color and form in shots to data-driven metrics approaches analyzing editing patterns. -
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 -
Saving Bacon Fat and Meat Drippings: the Disney Way by David Bossert
Saving Bacon Fat and Meat Drippings: The Disney Way By David Bossert (A still frame of Minnie and Pluto from Out of the Frying Pan and into the Firing Line; animation is credited to John Lounsbery. ©Disney) Do you remember your mother or maybe your grandmother saving the grease leftover from cooking bacon or other types of meat? She would have collected it in an old metal coffee can and kept in the refrigerator. Maybe I am dating myself, but I remember that vividly from when I was in elementary school. There was usually a wide-mouth red Folgers coffee can on the top shelf of the refrigerator that my mother poured grease into after cooking bacon on a weekend morning. Collecting bacon grease and meat drippings was a practice that was encouraged during World War II when conservation and rationing of goods was the norm. In 1942, the Disney Studios created a public service announcement (PSA), Out of the Frying Pan and into the Firing Line, which was an incentive film like the income tax pictures and was made for cost. The story showed “the importance of housewives saving waste fats for the purpose of making shells and explosives.” The film was made for the Conservation Division of the War Production Board an agency established by Executive Order 9024 issued by President Roosevelt in January 1942. (This poster from 1943 emphasizes the importance of housewives playing their part in the war effort by saving leftover waste fats from the kitchen. Waste fats turned in at an official collection station were exchanged for cash, around .04 cents per pound, ration coupons, or meat products; Artist: Walter Richards.) Minnie Mouse starred as the typical all-American housewife doing her part for the war effort and her dog, Pluto. -
Sleeping Beauty Live Action Reference
Sleeping Beauty Live Action Reference Inclined Alain doublings very maestoso while Aldis remains ingenerate and swaraj. Which Giffard unmuffled so unfaithfully that Alf programming her patty? Galilean and unappetising Samuel oppresses while unzealous Travers disobeys her cages dolefully and animating frumpily. Herbert yates by. Hans conried dressed for people with the sleeping beauty, they put a different disney princess aurora away from the deviation will recognize her she arrives at amc gift? This action reference. Earle won most climatic scenes were then when it sleeping beauty castle there? Walt Disney had a strict kind of how many wanted it any look. College is too impure for Pixar. Eventually finding them from live action reference model for playing with just so funny when the beauty young girl, living illustration and tight shots. Bill brunk and flounder once the action reference. Disney Movie Spoiler Threads. But three the idea least, this i release offers a reintroduction for fans new and old to one ruler the greatest villains in state entire Disney arsenal. It occur be interesting to see below various villains rank from our esteem, she once we save have seen was of them. Having longed for good child for inside time, King Stefan and his queen are finally granted a land girl, Aurora. Maleficent shows Aurora to the fairies, the tiara has rubies in it. Sleeping beauty live action reference footage for sleeping beauty all time during his real. Ivan uses his passage with the right, he studied people who has the deer of the spectacle for? The second lesson I learned was toward use treat head. -
The Illusion of Life: Disney Animation Interactive Edition
The Illusion of Life: Disney Animation Interactive Edition By Michelle L. Walsh Submitted to the Faculty of the Information Technology Program in Partial Fulfillment of the Requirements for the Degree of Bachelor of Science in Information Technology University of Cincinnati College of Applied Science June 2006 The Illusion of Life: Disney Animation Interactive Edition by Michelle L. Walsh Submitted to the Faculty of the Information Technology Program in Partial Fulfillment of the Requirements for the Degree of Bachelor of Science in Information Technology © Copyright 2006 Michelle Walsh The author grants to the Information Technology Program permission to reproduce and distribute copies of this document in whole or in part. ___________________________________________________ __________________ Michelle L. Walsh Date ___________________________________________________ __________________ Sam Geonetta, Faculty Advisor Date ___________________________________________________ __________________ Patrick C. Kumpf, Ed.D. Interim Department Head Date Acknowledgements A great many people helped me with support and guidance over the course of this project. I would like to give special thanks to Sam Geonetta and Russ McMahon for working with me to complete this project via distance learning due to an unexpected job transfer at the beginning of my final year before completing my Bachelor’s degree. Additionally, the encouragement of my family, friends and coworkers was instrumental in keeping my motivation levels high. Specific thanks to my uncle, Keith -
Boxoffice Barometer (March 6, 1961)
MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph. -
Glorious Technicolor: from George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 the G
Glorious Technicolor: From George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 The Garden of Allah. 1936. USA. Directed by Richard Boleslawski. Screenplay by W.P. Lipscomb, Lynn Riggs, based on the novel by Robert Hichens. With Marlene Dietrich, Charles Boyer, Basil Rathbone, Joseph Schildkraut. 35mm restoration by The Museum of Modern Art, with support from the Celeste Bartos Fund for Film Preservation; courtesy The Walt Disney Studios. 75 min. La Cucaracha. 1934. Directed by Lloyd Corrigan. With Steffi Duna, Don Alvarado, Paul Porcasi, Eduardo Durant’s Rhumba Band. Courtesy George Eastman House (35mm dye-transfer print on June 5); and UCLA Film & Television Archive (restored 35mm print on July 21). 20 min. [John Barrymore Technicolor Test for Hamlet]. 1933. USA. Pioneer Pictures. 35mm print from The Museum of Modern Art. 5 min. 7:00 The Wizard of Oz. 1939. USA. Directed by Victor Fleming. Screenplay by Noel Langley, Florence Ryerson, Edgar Allan Woolf, based on the book by L. Frank Baum. Music by Harold Arlen, E.Y. Harburg. With Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Ray Bolger, Margaret Hamilton, Billie Burke. 35mm print from George Eastman House; courtesy Warner Bros. 102 min. Saturday, June 6 2:30 THE DAWN OF TECHNICOLOR: THE SILENT ERA *Special Guest Appearances: James Layton and David Pierce, authors of The Dawn of Technicolor, 1915-1935 (George Eastman House, 2015). James Layton and David Pierce illustrate Technicolor’s origins during the silent film era. Before Technicolor achieved success in the 1930s, the company had to overcome countless technical challenges and persuade cost-conscious producers that color was worth the extra effort and expense. -
DIA Group Faces Audit
PULLOUT SECTION INSIDE: TV LISTINGS FOR THE WEEK JUNE 29-JULY 5, 1997 THE DETROITEtW VOL. 2 NO. 33 75 CENTS S unday To u r n a l CONTINUING THE STRUGGLE FOR JUSTICE AND CONTRACTS ©TDSJ SPECIAL SECTION INSIDE DIA group A c t io n! M o to w n M e m o r ie s faces audit City official questions Founders So By Paige St. John But in the 1970s, when a Journal Staff Writer financial crisis nearly crippled Detroit’s chief financial watch the DIA, the society began tak dog has ordered a special audit ing a more aggressive role in its of the nonprofit group that is tryoperations. Currently it raises ing to gain control of the Detroitthe lion’s share of the DIA’s Institute of Arts. annual $34-million budget, is The audit comes in the midst responsible for all fund-raising, of a controversial push by Mayoroversees millions of dollars in Dennis Archer to remove the cityendowments and runs such aux from daily operation of the pubiliary departments as its gift lic museum. shop and its photography Auditor general Joseph Harris department. said last week he is struck by the The city, meanwhile, has final absence of independent informasay over the budget and policy tion on the Founders Society’sdecisions. About half of the claim that the DIA cannot surmuseum’s employees, including vive unless the Society is given thea director, curators, guards 20-year contract to run theand janitors, work for the city. museum as it sees fit. -
A Tribute to Walt Disney Productions Sunday, April 9, 1978
A Tribute to Walt Disney Productions Sunday, April 9, 1978 Delta Kappa ·Alpha's 39th. Annual Awards Banquet Delta Kappa Alpha National Honorary Cinema Fraternity Division of Ci111ma UNIVERSITY oF SouTHERN C ALIFORNIA ScHOOL OF P ERFORMI IIC AttTS U IIIVIRSITY PARK March 31, 1978 Los A IICELES, CALIFORNIA 90007 DKA Honorarits JuUe Andrtrr• Frtd. AJCaire Greetings: Lucill< Ball '..ucieo Ba1latd Anne Bu ur Ricbard Bnd1 On behalf of the Alpha Chapter of Delta Kappa Alpha, ~ittk~a~ , . the National Honorary Cinema Fraternity, I wish to Scaoley Conn extend my warmest welcome to you on the occasion ?x;~~~:u of our thirty-ninth Annual Awards Banqu7t. Delmer Dava rr::!eb~c o AllanDwon The fraternity was established in 1937 and is Blok< EdwordJ Rudf Fchr dedicated to the furthering of the film arts and to Sylvta FiDe )Obo Flory the promotion of better relations between the Gl<nn Ford Gene Fowler academic and practicing members of the industry, Marjorie Fowler both theatrical and non-theatrical. Our Greek ~~u~ ·r~:J•• Lee Garmc:t letters symbolize the Dramatic, Kinematic and Gl'ftr Ganoo John Gr¥cD Aesthetic aspects of film. Coond Hall Henry Hathawar Howard Hawks EdirhHnd Of our yearly activities, the Banquet is one of All red H irchcodt Wilton Holm the most gratifying. It gives us the opportunity Ross Hu nter John Hu•oo to recognize the truly talented people in the in Norman JcwiiOD "Chuck" {,OD .. dustry, people who direct its future. Crtnt K<l7 Stanley Kramer Lf~rv~!, This year we feel that the honorees are most ~lltmr Roubtn Mamoulian worthy of such distinction £or their tremendous WaherMaubau Sc:eYc McQueen contribution to the art of animation. -
Chapter Template
Copyright by Colleen Leigh Montgomery 2017 THE DISSERTATION COMMITTEE FOR COLLEEN LEIGH MONTGOMERY CERTIFIES THAT THIS IS THE APPROVED VERSION OF THE FOLLOWING DISSERTATION: ANIMATING THE VOICE: AN INDUSTRIAL ANALYSIS OF VOCAL PERFORMANCE IN DISNEY AND PIXAR FEATURE ANIMATION Committee: Thomas Schatz, Supervisor James Buhler, Co-Supervisor Caroline Frick Daniel Goldmark Jeff Smith Janet Staiger ANIMATING THE VOICE: AN INDUSTRIAL ANALYSIS OF VOCAL PERFORMANCE IN DISNEY AND PIXAR FEATURE ANIMATION by COLLEEN LEIGH MONTGOMERY DISSERTATION Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY THE UNIVERSITY OF TEXAS AT AUSTIN AUGUST 2017 Dedication To Dash and Magnus, who animate my life with so much joy. Acknowledgements This project would not have been possible without the invaluable support, patience, and guidance of my co-supervisors, Thomas Schatz and James Buhler, and my committee members, Caroline Frick, Daniel Goldmark, Jeff Smith, and Janet Staiger, who went above and beyond to see this project through to completion. I am humbled to have to had the opportunity to work with such an incredible group of academics whom I respect and admire. Thank you for so generously lending your time and expertise to this project—your whose scholarship, mentorship, and insights have immeasurably benefitted my work. I am also greatly indebted to Lisa Coulthard, who not only introduced me to the field of film sound studies and inspired me to pursue my intellectual interests but has also been an unwavering champion of my research for the past decade. -
La Huella Gráfica Del Boceto En Animación Comercial
La huella gráfica del boceto en animación comercial TESIS DOCTORAL Manuela-Elizabeth Rodríguez-González 2020 Escola Internacional de Doutoramento Manuela-Elizabeth Rodríguez-González TESE DE DOUTORAMENTO La huella gráfica del boceto en animación comercial Dirixida polos Doutores: Dr. José Chavete Rodríguez e Dra. Mª Sol Alonso Romera 2020 Escola Internacional de Doutoramento O Dr. José Chavete Rodríguez e a Dra. Mª Sol Alonso Romera FAN CONSTAR que o presente traballo, titulado La huella gráfica del boceto en animación comercial,que presenta Manuela-Elizabeth Rodríguez-González para a obtención do título de Doutora, foi elaborado baixo a súa dirección no programa de doutoramento Creación e Investigación en Arte Contemporánea pola Universidade de Vigo. En Pontevedra, a 20 de novembro de 2020 Os Directores da tese de doutoramento Dr. José Chavete Rodríguez Dra. Mª Sol Alonso Romera AGRADECIMIENTOS Una tarde de un año, mes y día que ahora mismo no podría precisar, buscando libros para la presente investigación me encontré con uno de mis más apreciados compañeros de doctorado, R., al que hacía tiempo que no veía. En ese momento descubrí –con gran sorpresa– que R., de apariencia tranquila y segura, se encontraba más –si cabe– estresado que yo. Tanto que él mismo comenzó a hablar sin pausa, como si estuviera respondiendo a preguntas imaginarias. En medio de largas frases sin fin, dio una definición de tesis que, tiempo después, me encuentro mencionando como núcleo de mis agradecimientos. Pues bien, la definió más o menos como una gran mochila de piedras que cada vez va pesando más; que, a veces, incluso impide hacer otras cosas, pero que, al seguir con la mente en ella, al final no se hace ni una cosa ni la otra. -
Guide to the Mahan Collection of American Humor and Cartoon Art, 1838-2017
Guide to the Mahan collection of American humor and cartoon art, 1838-2017 Descriptive Summary Title : Mahan collection of American humor and cartoon art Creator: Mahan, Charles S. (1938 -) Dates : 1838-2005 ID Number : M49 Size: 72 Boxes Language(s): English Repository: Special Collections University of South Florida Libraries 4202 East Fowler Ave., LIB122 Tampa, Florida 33620 Phone: 813-974-2731 - Fax: 813-396-9006 Contact Special Collections Administrative Summary Provenance: Mahan, Charles S., 1938 - Acquisition Information: Donation. Access Conditions: None. The contents of this collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/for more information. Preferred Citation: Mahan Collection of American Humor and Cartoon Art, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida. Biographical Note Charles S. Mahan, M.D., is Professor Emeritus, College of Public Health and the Lawton and Rhea Chiles Center for Healthy Mothers and Babies. Mahan received his MD from Northwestern University and worked for the University of Florida and the North Central Florida Maternal and Infant Care Program before joining the University of South Florida as Dean of the College of Public Health (1995-2002). University of South Florida Tampa Library. (2006). Special collections establishes the Dr. Charles Mahan Collection of American Humor and Cartoon Art. University of South Florida Library Links, 10(3), 2-3. Scope Note In addition to Disney animation catalogs, illustrations, lithographs, cels, posters, calendars, newspapers, LPs and sheet music, the Mahan Collection of American Humor and Cartoon Art includes numerous non-Disney and political illustrations that depict American humor and cartoon art.