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321444 1 En Bookbackmatter 533..564
Index 1 Abdominal aortic aneurysm, 123 10,000 Year Clock, 126 Abraham, 55, 92, 122 127.0.0.1, 100 Abrahamic religion, 53, 71, 73 Abundance, 483 2 Academy award, 80, 94 2001: A Space Odyssey, 154, 493 Academy of Philadelphia, 30 2004 Vital Progress Summit, 482 Accelerated Math, 385 2008 U.S. Presidential Election, 257 Access point, 306 2011 Egyptian revolution, 35 ACE. See artificial conversational entity 2011 State of the Union Address, 4 Acquired immune deficiency syndrome, 135, 2012 Black Hat security conference, 27 156 2012 U.S. Presidential Election, 257 Acxiom, 244 2014 Lok Sabha election, 256 Adam, 57, 121, 122 2016 Google I/O, 13, 155 Adams, Douglas, 95, 169 2016 State of the Union, 28 Adam Smith Institute, 493 2045 Initiative, 167 ADD. See Attention-Deficit Disorder 24 (TV Series), 66 Ad extension, 230 2M Companies, 118 Ad group, 219 Adiabatic quantum optimization, 170 3 Adichie, Chimamanda Ngozi, 21 3D bioprinting, 152 Adobe, 30 3M Cloud Library, 327 Adonis, 84 Adultery, 85, 89 4 Advanced Research Projects Agency Network, 401K, 57 38 42, 169 Advice to a Young Tradesman, 128 42-line Bible, 169 Adwaita, 131 AdWords campaign, 214 6 Affordable Care Act, 140 68th Street School, 358 Afghan Peace Volunteers, 22 Africa, 20 9 AGI. See Artificial General Intelligence 9/11 terrorist attacks, 69 Aging, 153 Aging disease, 118 A Aging process, 131 Aalborg University, 89 Agora (film), 65 Aaron Diamond AIDS Research Center, 135 Agriculture, 402 AbbVie, 118 Ahmad, Wasil, 66 ABC 20/20, 79 AI. See artificial intelligence © Springer Science+Business Media New York 2016 533 N. -
OCLS Cataloguing Workflow
OCLS Cataloguing Workflow Created by: Ian Bigelow (Georgian College), Stacey Boileau (OCLS), Danielle Emon (Loyalist College), Rosina Leung (Seneca College), Marina Morgan & Irene Sillius (Sheridan College) With thanks to Safar Ali (OCLS) for contributions to the Identifiers of Manifestations for Matching to the CUC document & Thanks to Doris Rankin and Sally Press for early project contributions Presented by the Ontario Colleges Library Service (OCLS) With the support of the Heads of Libraries & Learning Resources (HLLR) & the Colleges Union Catalogue & Digital Repository Steering Group (CUCLDRSG) As approved by the Bibliographic Standards Working Group (BSWG) & the Joint RDA Implementation Subcommittee (JRDA) This workflow drew insight from the Cambridge Monograph WEMI Workflow, the BL Monograph WEMI Workflow and the Pan-Canadian Working Group Workflows This work is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. Feedback is Welcome: [email protected] 1 Table of Contents A. Foreword B. Introduction C. Cataloguing Tools and Standards C.1 Descriptive Cataloguing C.2 Content Standards C.2.1 AACR2 C.2.2 RDA C.3 Entity-Relationship Models C.4 Encoding Standards C.4.1 MARC C.4.2 Linked Data and the Semantic Web C.5 Authorized Access Points and Identifiers D. How To Use this Workflow D.1 Quick Step Guide Step 1: Define Preferred Source -
Animation 23910
Film 3910-02: Classical Cel Animation TTH 6-8 Pigott 107 Dr. Kirsten Thompson ___________________________________________________ Shhh! Be vewwy vewwy quiet. I'm hunting wabbits! With iconic characters like Elmer Fudd, Mickey Mouse, Popeye the Sailor and Wile E. Coyote, classical cel animation has shaped American popular culture. This class will explore the influential role of cel animation in the United States from the 1890's through to the 1960's, as an industrial form that is still enormously influential on contemporary shows like Family Guy and The Simpsons. We'll study the development of cel animation as an industry, production process and series of aesthetic and generic strategies, while we survey technological developments like the role of sound, music and color and the emergence of personality animation with characters like Bugs Bunny and Felix the cat. We'll trace the vexed ways in which animation engaged with, reproduced or transgressed different representations of race and gender and consider the influential role that animation played in World War II propaganda films, and in graphic modernism. This class can fulfill your genre requirement for Film Majors (PEP required) Each week the first class will be a screening of a feature film, while the second class will be devoted to group work, viewing of clips and some lecturing (Roughly 70 % group work & analysis and 30 % lecture). Together we will practice close analysis of the weekly readings and film. You will be expected to participate in class discussions, complete all class assignments on time and see all scheduled films. As the quarter system moves very quickly, it is essential you come to class prepared. -
Oddball Films: Pre-Code Betty Boopathon! - Thur
11/12/2016 Oddball Films: Pre-Code Betty Boopathon! - Thur. Nov. 10th - 8PM 0 More Next Blog» [email protected] Dashboard Sign Out Oddball Films Screenings Thursday & Friday Nights at 8pm | 275 Capp Street, San Francisco, CA 94110 Sign up for our weekly newsletter Email Pre‐Code Betty Boopathon! ‐ Thur. Nov. 10th sign up ‐ 8PM Blog Archive Oddball Films and curator Kat Shuchter bring ▼ 2016 (95) you PreCode Betty Boopathon!, a program of 16mm cartoons from 19301934 ▼ November (7) from the Fleischer Brothers starring the News from the Archive original cartoon sexpot and the most popular Recent Projects female cartoon character of all time: Betty Hey Sailor! Antique Naval VD, Boop. Dave and Max Fleischer were true Training, and Epheme... animation pioneers; the first to introduce Oddball in the Press sound in animation and creators of Strange Sinema 106 rotoscoping (tracing human movement from Computeresque: film) as well as the originators of Popeye, the Experiments Wi... first Superman cartoons and more. They also Political Party Animals: Bizarro introduced the world to one of its sexiest and Politics and Prop... most beloved cartoon heroines ever. The Betty Boop cartoons are incredibly PreCode Betty Boopathon! Thur. Nov. 10th 8PM imaginative, sexy, surreal, and possess the spirit of the Jazz Age with a kooky and spooky ► October (10) edge. "Born" in 1930 as a dog lady singing in ► September (9) a Bimbo the dog cartoon, Betty eventually evolved over the next few years into not only ► August (8) a human woman but also from an unnamed ► July (9) bit player into the star of dozens of cartoons. -
American Cinema of the 1930S SCREEN AMERICAN CULTURE / AMERICAN CINEMA DECADES
American Cinema of the 1930s SCREEN AMERICAN CULTURE / AMERICAN CINEMA DECADES Each volume in the Screen Decades: American Culture/American Cinema series presents a group of original essays analyzing the impact of cultural issues on the cin- ema and the impact of the cinema in American society. Because every chapter explores a spectrum of particularly significant motion pictures and the broad range of historical events in one year, readers will gain a continuing sense of the decade as it came to be depicted on movie screens across the continent. The integration of his- torical and cultural events with the sprawling progression of American cinema illu- minates the pervasive themes and the essential movies that define an era. Our series represents one among many possible ways of confronting the past; we hope that these books will offer a better understanding of the connections between American culture and film history. LESTER D. FRIEDMAN AND MURRAY POMERANCE SERIES EDITORS Ina Rae Hark, editor, American Cinema of the 1930s: Themes and Variations Wheeler Winston Dixon, editor, American Cinema of the 1940s: Themes and Variations Murray Pomerance, editor, American Cinema of the 1950s: Themes and Variations Lester D. Friedman, editor, American Cinema of the 1970s: Themes and Variations Stephen Prince, editor, American Cinema of the 1980s: Themes and Variations American Cinema of the 1930s Themes and Variations EDITED BY INA RAE HARK RUTGERS UNIVERSITY PRESS NEW BRUNSWICK, NEW JERSEY AND LONDON LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA American cinema of the 1930s : themes and variations / edited by Ina Rae Hark. p. cm. — (Screen decades) Includes bibliographical references and index. -
We're Just Beginning to Learn the Unexpurgated Facts of Betty's Bio
•CTTV by Amelia S. Holberg We're just es. Of course Betty Boop is Jewish. What made her a star, however, was beginning to learn y not Jewishness, but overt sexiness. the unexpurgated When Betty Boop was introduced in facts of Betty's bio. 1930 by her creators. Max and Dave Fleischer, animation was for adults; she frequently loses her top and trades on sexuality. In one cartoon, "Betty Maybe there'i Boop's Ker-choo" (1933), Betty actually wins an a subliminal automobile race with a sneeze/orgasm. When her small sneezes give way to a final large one, she blows message f o herself across the finish line, coming in first and leav• Jevfish women in ing the male-piloted vehicles in pieces behind her. those Betty Boo^ Clearly, Betty is an early example of the large-breasted, round-bottomed, barely-clad heroine of male fantasy tchotchkes that ar^ that persists even in the most contemporary cartoon art, everywhere now but her equally apparent ethnic heritage makes her a unique character From her first appearance,,Betty's milieu most frequent• ly resembled Max and Dave Fleischer's own, In films like "Mask-a-Raid" (1931) and "Betty Boop's Trial" (1934), the Fleischers spoof urban types drawn from New York's immi• grant neighborhoods in familiar vaudeville stereotypes like the big-nosed, mustachioed Italian, or the gibberish-spouting Chinese. In others, Betty herself performs; she's a showgirl in "Silly Scandals" (1931) and mimics fellow immigrant vaude- villians Maurice Chevalier and Fanny Brice in "Stopping the Show" (1932), Even the looking-glass world of animation is not without its dangers, however, and Betty navigates the world of crowd• ed, derelict tenement living in films like "Any Rags" (1931) and "Minding the Baby" (1931), where a clothesline strung between her apartment and Bimbo's (the baby is his littie brother) becomes a clandestine communications route. -
ÖSTERREICHISCHES FILMMUSEUM Fyf&N Wiener Festwochen 1983
ÖSTERREICHISCHES FILMMUSEUM fyf&n Wiener Festwochen 1983 ZUR GESCHICHTE DES ANIMATIONSFILMS 10.-31. MAI 1983 UNTER DER PATRONANZ VON CHUCK JONES 16 30 Pr°9r8mm 6 1924-1925 21.00 ERÖFFNUNG 16 30 Pro9ramm3 1917-1918 19.30 Programm 17 1937-1939 ilk. THEMOUSE THAT TURNE0(1924) Uhr Professor Or. Helmut Zilk. Amtsführender Stadtrat ilhr DER CAPTAIN DISCOVERS THE NORTH POLE Uhr POPEYE THE SAILOR MEETS ALI BABA S FORTY u"' Paul Terry für Kuttur und Bürgerdienst, eröffnet die Retrospek¬ wm (1917) THIEVES (1937) 10 tive der Wiener Festwochen 1983 „Zur Geschichte 18 BONEYARD BLUES (1924) 14 Gregory La Cava 16 Max & Dave Fleischer Earl Hurd des Animationsfilms". HAMATEUR NIGHT (1938) Dienstag EVER BEEN HAD(1917) Montag Mittwoch FELIX KNIGHT ERRANT (1923) Als Ehrengast wird Chuck Jones, der Schöpfer be¬ Samstag Dudley Buxton Tex Avery rühmter Trickfilmfiguren wie P6pö le Pew. Road Pat Sullivan THEM WERE THE HAPPY DAYS (1917) COLOUR FLIGHT (1938) KOKOIN 1999(1924) Runner und Wile E. Coyote und einer der drei Väter Len Lye von Bugs Bunny und Daffy Duck, eine Auswahl sei¬ Pat Sullivan Max & Dave Fleischer ner besten Frlme zeigen und Einblick in seine ÖOX CÄR BR-* FALLS IN LUCK (1917) PORKY S HARE HUNT (1938) DFTECTIVE BONZO AND THE BLACK HAND künstlerische Arbeit geben. Bill Cause Hardaway Dalton GANG (1924) DAFFY DUCK IN HOLLYWOOD (1938) G. E. Studdy LEAP YEAR (1918) Tex Avery Rube Goldberg BONZOLINO(1924) DOTS (1939) G E Studdy THE SINKING OF THE LUSITANIA (1918) Norman McLaren 16.30 Programm 1 1898-1911 Winsor McCay THE CURE (1924) jll|r PEINTURE A L'ENVERS (1898) YIP, YlP. -
How. Ik V~6E&" See Page 3 NEW TITLES Videocassettes
SPRING 1984 SUPPLEMENT I ~ ~:!: =~::~ WORLD'S GREATEST SELECTION OF THINGS TO SHOW /11,.rtuo~IC• <I !\ll'I t UulH't/,Pu•hl'sf ,'\<tc•l i.tt Ho c,..,,,ff,t S,t#,.,. Tti1Jm1th. "How. iK V~6e&" See page 3 NEW TITLES Videocassettes ..... 3, 16 & 17 Film prints .................... 32 VideoDiscs ............. 46 & 47 SALE! SALE! SALE! Laurel & Hardy film prints ........................ 31 Classic comedians, videocassette ................ 8 DW Griffith on videocassette ................ 9 BLACKHAWK® BARGAINS!! VideoDiscs .................... 38 Classic Radio Shows.36 & 37 1984 Blackhawk Film\, Inc, One Old Eagle Brewery, Davenport, Iowa 52802 Regular Prices good thru Mar. 31, 1984 VideoDisc Players Electronic disc loading system with Auto Start Disc looding ond unloading is completely outomotic. Simply press "Power" button ond slide disc sleeve portiolly into port door. In• ternol player mechanism will pull sleeve into player, rerr,ove disc and return empty sleeve to user. Playback begins automatically in seconds. Disc removal is just as easy: Press "Reject" button and insert empty sleeve; player automatically returns disc to sleeve and smoothly ejects both. Your hands never touch the disc itself. Press "Power" button. Player door opens Insert sleeve partially into slot. Auto-lood mechanism pulls sleeve into player, removes disc and ejects sleeve. Playback begins automatically. MODEL SJT300 • Infrared remote control • Electronic function controls Pause Control Interrupts playback on command; returns to program at some • Visual Speech • Precision micro-stylus point when "Pause/Ploy" is pressed again. Useful during phone • High-speed Scan • Quartz-locked direct-drive turntable coifs or other momentary "intermissions." • Pause • Linear-tracking pickup assembly Electronic function controls • Electronic disc loading system with • Illuminated function indicators All front panel controls are completely electronic. -
Pre-Code Hollywood 1930-1934
Pre-Code Hollywood FILM AND CULTURE / JOHN BELTON, GENERAL EDITOR Film and Culture / A Columbia University Press series / Edited by John Belton What Made Pistachio Nuts? Picturing Japaneseness: Monumental Henry Jenkins Style, National Identity, Japanese Film Darrell William Davis Showstoppers: Busby Berkeley and the Tradition of Spectacle Attack of the Leading Ladies: Gender, Martin Rubin Sexuality, and Spectatorship in Classic Horror Cinema Projections of War: Rhona J. Berenstein Hollywood, American Culture, and World War II This Mad Masquerade: Stardom and Thomas Doherty Masculinity in the Jazz Age Gaylyn Studlar Laughing Screaming: Modern Hollywood Horror Sexual Politics and Narrative Film: and Comedy Hollywood and Beyond William Paul Robin Wood Laughing Hysterically: American The Sounds of Commerce: Marketing Screen Comedy of the 1950s Popular Film Music Ed Sikov Jeff Smith Primitive Passions: Visuality, Orson Welles, Shakespeare, and Sexuality, Ethnography, and Popular Culture Contemporary Chinese Cinema Michael Anderegg Rey Chow Pre-Code Hollywood: Sex, Immorality, and The Cinema of Max Ophuls: Insurrection in American Cinema, 1930–1934 Magisterial Vision and the Figure Thomas Doherty of Woman Susan M. White Sexual Technology and the American Cinema: Perception, Representation, Black Women as Cultural Readers Modernity Jacqueline Bobo James Lastra Pre-Code Hollywood Sex, Immorality, and Insurrection in American Cinema, 1930–1934 Thomas Doherty COLUMBIA UNIVERSITY PRESS / NEW YORK Columbia University Press Publishers Since 1893 New York Chichester, West Sussex Copyright © 1999 by Columbia University Press All rights reserved Library of Congress Cataloging-in-Publication Data Doherty, Thomas Patrick. Pre-code Hollywood : sex, immorality, and insurrection in American cinema, 1930–1934 / Thomas Doherty. p. cm. — (Film and culture) Filmography: p. -
Classical Cel Animation, World War Two and Bambi, 1939-1945” History of American Film, 1929-1945, Eds
“Classical Cel Animation, World War Two and Bambi, 1939-1945” History of American Film, 1929-1945, eds. Cynthia Lucia, Art Simon and Roy Grundmann. Vol II. New York: Blackwell, in press, 2012. The word animation derives from anima, meaning “breath or soul,” and animare, “to give life to.” Animation creates the illusion of life, and it does this through movement. There are two distinguishing characteristics: first, the image is photographed on film frame by frame, and second, in consequence the illusion of motion is created cinematically rather than recorded. In animation, a special camera is used that can photograph one frame at a time. Between exposures, the animator incrementally moves an object: it may be cels, puppets, clay, sand, or paper cut outs, but the basic principle is that the illusion of motion is constructed. That is, rather than photographing something that is already moving, movement is created in the camera through stop-motion photography, or the photographing of an object frame by frame. (Solomon, 5, 9-12) Just as drawings in flip books also seem to move when we flip the pages we perceive motion in a succession of rapidly projected still images. Nineteenth century curiosity items and optical toys with strange names like praxinoscopes, thaumatropes, and zoetropes1 were the product of this fascination with the novelty of motion, and were the precursors of animated film. Early filmmakers like Albert E. Smith (The Humpty Dumpty Circus, 1898?), James Stuart Blackton (The Haunted Hotel, 1907), and Edwin S. Porter (Fun in a Bakery Shop, 1902), created “trick” films with stop motion photography, which seemed to make simple props and objects move.