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Here Comes Television
September 1997 Vol. 2 No.6 HereHere ComesComes TelevisionTelevision FallFall TVTV PrPrevieweview France’France’ss ExpandingExpanding ChannelsChannels SIGGRAPHSIGGRAPH ReviewReview KorKorea’ea’ss BoomBoom DinnerDinner withwith MTV’MTV’ss AbbyAbby TTerkuhleerkuhle andand CTW’CTW’ss ArleneArlene SherShermanman Table of Contents September 1997 Vol. 2, . No. 6 4 Editor’s Notebook Aah, television, our old friend. What madness the power of a child with a remote control instills in us... 6 Letters: [email protected] TELEVISION 8 A Conversation With:Arlene Sherman and Abby Terkuhle Mo Willems hosts a conversation over dinner with CTW’s Arlene Sherman and MTV’s Abby Terkuhle. What does this unlikely duo have in common? More than you would think! 15 CTW and MTV: Shorts of Influence The impact that CTW and MTV has had on one another, the industry and beyond is the subject of Chris Robinson’s in-depth investigation. 21 Tooning in the Fall Season A new splash of fresh programming is soon to hit the airwaves. In this pivotal year of FCC rulings and vertical integration, let’s see what has been produced. 26 Saturday Morning Bonanza:The New Crop for the Kiddies The incurable, couch potato Martha Day decides what she’s going to watch on Saturday mornings in the U.S. 29 Mushrooms After the Rain: France’s Children’s Channels As a crop of new children’s channels springs up in France, Marie-Agnès Bruneau depicts the new play- ers, in both the satellite and cable arenas, during these tumultuous times. A fierce competition is about to begin... 33 The Korean Animation Explosion Milt Vallas reports on Korea’s growth from humble beginnings to big business. -
Animation Fandom in North America and East Asia from 1906–2010 By
Animating Transcultural Communities: Animation Fandom in North America and East Asia from 1906–2010 By Sandra Annett A thesis submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Department of English, Film, and Theatre University of Manitoba Winnipeg © 2011 Sandra Annett Abstract This dissertation examines the role that animation plays in the formation of transcultural fan communities. A ―transcultural fan community‖ is defined as a group in which members from many national, cultural, and ethnic backgrounds find a sense of connection across difference, engaging with each other through a mutual interest in animation while negotiating the frictions that result from their differing social and historical contexts. The transcultural model acts as an intervention into polarized academic discourses on media globalization which frame animation as either structural neo-imperial domination or as a wellspring of active, resistant readings. Rather than focusing on top-down oppression or bottom-up resistance, this dissertation demonstrates that it is in the intersections and conflicts between different uses of texts that transcultural fan communities are born. The methodologies of this dissertations are drawn from film/media studies, cultural studies, and ethnography. The first two parts employ textual close reading and historical research to show how film animation in the early twentieth century (mainly works by the Fleischer Brothers, Ōfuji Noburō, Walt Disney, and Seo Mitsuyo) and television animation in the late twentieth century (such as The Jetsons, Astro Boy and Cowboy Bebop) depicted and generated nationally and ethnically diverse audiences. -
A History of Computer Animation 3/20/92 1
tea:1 i20SZ bu :J1, Chapter 4 : A HISTORY OF COMPUTER ANIMATION 3/20/92 1 A History of Computer Animation . .. .. .. .. .. .. .. .. .. .1 The Origins of Animation . .. .. ... .. .. .. .. .. .. .. ..1 Animated phase pictures and roll media (1828- 1895) . .. .. .. .. .......... .. .. .. ................. ..........1 The early trickfilmsters and technology (1895- 1909) . .. .. .. .. .. .. .. .. .. .. .. .. ............ .. .. ............. ...2 The animation studio and techniques (1910-1920) . .5 The Classical Period (1920-1960) . .. 1 0 The Origins of the Computer . ............................ .. .. .. .. .. ...... .. ..14 Analog computers.... .. ... .. ... ... .. .. .. .. ... .. .. ..14 Digital computers . .... .. .. .. .. .. .. .. .. .. .............. .. .. .. .. ..16 Analog Computer Animation .... .. .. .. .. ............... ..21 Electronic Analog Computer Animation . .. .. .. ............. .21 Mechanical Analog Computer Animation . .. ..... ...... .. .23 Computerizating the Animation Stand and Optical Printer. .. .... ... .. ..... .. .... ..... .... ... .. .. .. ... .2 7 Benefits of Computer Animation Stand . .2 9 Motion Control . .............. .. .. .. .. .. ........ .. .. ..3 0 Benefits of Computerized Motion Control .............. .. .... .. .32 Synthetic Imagery. .. .. ... .. ... ... .. .. ... .. .. .. .. .. .. .3 3 Computer hardware fusions. .. .. .. .. .. .. ..3 3 The interactive cathode ray tube display. .3 3 The mechanical plotter. .. .. .. .. .. .. .. .. .. .3 5 Film recorder CRT's. .. .. .. .. ... .. .. ... .. .. .. .. .. -
Chapter 4: a HISTORY of COMPUTER ANIMATION 3/20/92 2
Chapter 4 : A HISTORY OF COMPUTER ANIMATION 3/20/92 1 A Chronology Of Animation History Computer Animation Technology prepared by Judson Rosebush C 1989-1990 This is document CHRON4.DOC Chapter 4: A HISTORY OF COMPUTER ANIMATION 3/20/92 2 360,000,000 BC - first known tetrapods (4 legged terrestrial vertebrates) appear. 1,500,000 BC - Kindling wood employed in building fire. 1,000,000 BC - Humans migrate out of Africa and use stone tools in Jordan . 350,000 BC - Alternate date for Homo erectus uses fire. [decide which you want Judson .] 250,000 BC - Brain capacity of neanderthal man exceeds 1000 cubic centimeters. 120,000 BC - Man builds shelters with roof supported by wooden beams. 50,000 BC - Body paint employed as decoration and camaflage . 43,000 BC - Homo sapiens matures; brain capacity exceeds 1500 cc's and spoken language is developed. 32,000 BC - Neanderthal hunters employ superimposed positions to depict the action of a running boar. First recorded drawings with temporal component . [but isn't the date too early?] 25,000 BC - Clothing begins to be tailored. Czechoslovaks make kiln fired clay figures of people and animals . 15,000 BC - Cave painters at Lascaux, France superimpose stars over the sketch of a bull creating the oldest record of a star constellation. Because most modern (Arabic) star names describe the part of the constellation where the star is located it is theorized that constellations were named before the individual stars . 8600 BC - Brick houses are built in Jerico, Palestine. 8450 BC - Accounting and counting systems: Persians use clay tokens as bills of lading for shipments. -
Secrets of Oscar-Winning Animation Sample Chapter.Pdf
Like what you see? Buy the book at the Focal Bookstore Secrets of Oscar-winning Animation Cotte ISBN 978-0-240-52070-4 Mona Lisa descending a staircase Through the transformation of famous pieces of art, the film offers a panorama of painting from the end of the nineteenth century to the present day. Using incomparable technical and artistic skill, it creates a explosive display of colors, textures and clues, for the amateur to decipher, as to the indentify of the work. The screenplay relies on the pleasure experienced upon seeing the chosen works, and the intelligence of the associations as well as the way they are linked in the film. Oscar 1992 Joan C. GRATZ 161 Clay painting Credits descriptive Title: Mona Lisa descending a staircase Year: 1991 Country: United States Director: Joan C. Gratz Production: Gratzfilm Screenplay, animation, artwork, layout, storyboard: Joan C. Gratz Technique used: Clay painting Music: Jamie Haggerty Sound: Chel White Voice and didgeridoo: Jean G. Poulot The transformation is applied to the film’s symbol (Mona Lisa) Sound mix: Lance Limbocker to create the title sequence. Optical printing: Fred Pack Length: 7 minutes Joan C. Gratz received degrees in painting from the University of California at Los Angeles and in architecture at the University of Oregon. She developed her technique of animated painting when she was an architecture student, then shifted to clay while working with Will Vinton Studios from 1976 to 1987. During that time, her work included design and animation for the Academy Award nominated film Return to Oz by Disney. Short film nominees Rip Van winkle and The Creation, which was the first film to feature Joan’s clay painting. -
The Multiple Marginalization of Lotte Reiniger and the Adventures of Prince Achmed (1926)
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 2011 National Identity, Gender, and Genre: The Multiple Marginalization of Lotte Reiniger and The Adventures of Prince Achmed (1926) K. Vivian Taylor University of South Florida, [email protected] Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the American Studies Commons, and the Film and Media Studies Commons Scholar Commons Citation Taylor, K. Vivian, "National Identity, Gender, and Genre: The Multiple Marginalization of Lotte Reiniger and The Adventures of Prince Achmed (1926)" (2011). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/3377 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Nationality, Gender, and Genre: The Multiple Marginalization of Lotte Reiniger and The Adventures of Prince Achmed (1926) by K. Vivian Taylor A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English College of Arts and Sciences University of South Florida Major Professor: Phillip Sipiora, Ph.D. Margit Grieb, Ph.D. Victor Peppard, Ph.D. Jerry Ball, Ph.D. Date of Approval: March 31, 2011 Keywords: film history, animation studies, Disney myth, Lotte Reiniger, literary adaptation © Copyright 2011, K. Vivian Taylor DEDICATION For Joni Bernbaum and Judi McBride, who taught me that justice doesn't come from a courtroom, but it sure helps. For Margit and Dr. Sipiora, who fought the good fight. -
Digital Animation As a Method of Inquiry
Digital Animation as a Method of Inquiry Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in the Graduate School of The Ohio State University By Malory Spicer, B.S. Graduate Program in Design The Ohio State University 2015 Master's Examination Committee: Maria Palazzi, Advisor Candace Stout Janet Parrott Copyright by Malory Spicer 2015 Abstract The potential for artistic practice-led research opening up new “realms of possibility” has been embraced by the academy, and it is the time now for animators to reveal how their practice is a method for the generation of new knowledge, exploration, and connection of ideas as well as for communication (as it is most commonly conceived of). Traditional views of research writing do not serve the wealth of knowledge to be found in the making process of animation. My goal is to illuminate the notion that the self-reflective creative practice of digital animation used as a method of inquiry contributes to both the field as well as the academy overall. Animation as a method of inquiry can be seen at the heart of many experimental and independent creations throughout the art form’s history, as well as in the present. I frame my discussion by highlighting inquiry in the works of animators both historical and contemporary to bring to light how these methodologies are functioning in the medium. Inspired by the concept of ‘practice as research’ in arts education discourse - I present a case-study analysis of my digital animation practice and reflections on my experience as an animator, a designer, and a researcher in animation. -
Production Design for Traditional Cut-Out Animation: Digital Remediation of Genre-Specific Aesthetics
Production design for traditional cut-out animation: Digital remediation of genre-specific aesthetics Ning Yuan A thesis submitted to Auckland University of Technology In partial fulfilment of the requirements for the degree of Master of Communication Studies (MCS) 2010 School of Communication Studies Primary Supervisor: Gudrun Frommherz Table of Contents: List of Figures ......................................................................................................... III Attestation of Authorship ...................................................................................... IV Acknowledgements/Ethics ..................................................................................... V Abstract .................................................................................................................. VI 1. Introduction ........................................................................................................ 1 2. Significance of the Study ..................................................................................... 3 3. Literature Review and Discussion ....................................................................... 5 3.1 History of cut-out animation ................................................................... 5 3.2 Hegemonic forms of animation ............................................................... 6 3.3 Cut-out as experimental animation form ................................................ 8 3.4 Production issues ................................................................................. -
Global Animation Theory
Global Animation Theory Global Animation Theory International Perspectives at Animafest Zagreb Edited by Franziska Bruckner, Nikica Gilic´, Holger Lang, Daniel Šuljic´ and Hrvoje Turkovic´ BLOOMSBURY ACADEMIC Bloomsbury Publishing Inc 1385 Broadway, New York, NY 10018, USA 50 Bedford Square, London, WC1B 3DP, UK BLOOMSBURY, BLOOMSBURY ACADEMIC and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in the United States of America 2019 Copyright © Franziska Bruckner, Nikica Gilic´, Holger Lang, Daniel Šuljic´, Hrvoje Turkovic´, and Contributors, 2019 Cover image © Zlatka Salopek This work is published subject to a Creative Commons Attribution Non-commercial No Derivatives Licence. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher. Bloomsbury Publishing Inc does not have any control over, or responsibility for, any third- party websites referred to or in this book. All internet addresses given in this book were correct at the time of going to press. The author and publisher regret any inconvenience caused if addresses have changed or sites have ceased to exist, but can accept no responsibility for any such changes. Library of Congress Cataloging-in-Publication Data Names: Bruckner, Franziska, editor. | Gilic, Nikica, editor. | Lang, Holger, 1964– editor. | Suljic, Daniel, 1941– editor. | Turkovic, Hrvoje, editor. | Animafest Scanner. Title: Global animation theory : international perspectives at Animafest Zagreb / edited by Franziska Bruckner, Nikica Gilic, Holger Lang, Daniel Suljic, and Hrvoje Turkovic. Description: New York : Bloomsbury Academic, Bloomsbury Publishing Inc, 2018. | “This anthology is based on a selection of the most relevant and interesting presentations from the first three editions of the Symposium for Contemporary Animation Studies, Animafest Scanner.” | Includes bibliographical references and index. -
Hybrid Animation: the Process and Methods of Implementing 2D Style in 3D Animation
Hybrid Animation: The Process and Methods of Implementing 2D Style in 3D Animation Jerina Kivistö BACHELOR’S THESIS December 2019 Degree Programme in Media and Arts Interactive Media 2 ABSTRACT Tampereen ammattikorkeakoulu Tampere University of Applied Sciences Degree Programme in Media and Arts Interactive Media KIVISTÖ JERINA Hybrid Animation: The Process and Methods of Implementing 2D Style in 3D Animation Bachelor's thesis 61 pages, appendices 1 page December 2019 Technological advancements have made computer generated 3D animations more prominent than ever, switching the dynamics of the animation industry completely in the 21st century. With this major change, a question has emerged: where does hand-drawn animation stand? While 3D methods are efficient and can allow complex animations as a result, it lacks in expressing the same level of artistry that hand-drawn animation is capable of. Thus, the objective of this study was to consider if hybrid animation — combining 2D and 3D animation — is beneficial in creating an appealing visual outcome without compromising the workflow efficiency and development costs. It also touches on the subject of how 3D renders are used to emulate the hand- drawn style. Both hand-drawn and 3D methods are examined to acquire an understanding of the strengths and weaknesses of the two media and how they can counterbalance one another in a production. In order to carry out a thorough comprehension on this subject, a research on various hybrid animation methods was made. To conclude these findings, a practical demonstration of the combination of the two media was performed. The examination proved that the combination of the two can create an appealing visual style while maintaining the workload feasible.