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Aardman in Archive Exploring Digital Archival Research Through a History of Aardman Animations
Aardman in Archive Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive | Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive: Exploring Digital Archival Research through a History of Aardman Animations Copyright © 2018 by Rebecca Adrian All rights reserved. Cover image: BTS19_rgb - TM &2005 DreamWorks Animation SKG and TM Aardman Animations Ltd. A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Media and Performance Studies at Utrecht University. Author Rebecca A. E. E. Adrian Student number 4117379 Thesis supervisor Judith Keilbach Second reader Frank Kessler Date 17 August 2018 Contents Acknowledgements vi Abstract vii Introduction 1 1 // Stop-Motion Animation and Aardman 4 1.1 | Lack of Histories of Stop-Motion Animation and Aardman 4 1.2 | Marketing, Glocalisation and the Success of Aardman 7 1.3 | The Influence of the British Television Landscape 10 2 // Digital Archival Research 12 2.1 | Digital Surrogates in Archival Research 12 2.2 | Authenticity versus Accessibility 13 2.3 | Expanded Excavation and Search Limitations 14 2.4 | Prestige of Substance or Form 14 2.5 | Critical Engagement 15 3 // A History of Aardman in the British Television Landscape 18 3.1 | Aardman’s Origins and Children’s TV in the 1970s 18 3.1.1 | A Changing Attitude towards Television 19 3.2 | Animated Shorts and Channel 4 in the 1980s 20 3.2.1 | Broadcasting Act 1980 20 3.2.2 | Aardman and Channel -
Animação Em Stop-Motion
THIAGO FRANCO RIBEIRO Animação em stop-motion : Tecnologia de produção através da história Belo Horizonte Escola de Belas Artes 2009 THIAGO FRANCO RIBEIRO Animação em stop-motion : Tecnologia de produção através da história Dissertação apresentada ao Curso de Mestrado da Escola de Belas Artes da Universidade Federal de Minas Gerais como requisito parcial de obtenção do título de Mestre em Artes. Área de concentração: Arte e tecnologia da imagem. Orientador: Prof. Dr. Heitor Capuzzo Filho. Belo Horizonte Escola de Belas Artes 2009 i Dedico este trabalho a Antônio Franco, que por muitas vezes me deu asas através de suas histórias e eu não soube quão valorosas e saudosas estas seriam. ii AGRADECIMENTOS A Deus, sempre presente nos momentos mais questionáveis. Aos meus pais Luiz Carlos (In Memoriam) e Marisa, pelo incontestável apoio ao passar dos anos. Aos amados, Thaís, Luizinho e Lara. À Juliana Carolina, minha querida amada. Ao meu orientador Heitor Capuzzo, pela cumplicidade, competência, amizade e admiração a mim transmitida. À Ana Lúcia Andrade, pelos fundamentais apontamentos e apoio a este trabalho. Ao meu revisor Ruzembergue Carvalho Jr., pela atenção e carinho com as minhas frases desconexas. Aos amigos, eternos, cujo trabalho tem nos afastado. À Marcela Simões Nascimento, por tudo que você representa. Aos colegas e amigos de trabalho no Centro Pedagógico – UFMG, pelo ensinamento e paciência adquirida e compartilhada. À Geuva, Wagner e D. Zina, pelo apoio nas horas mais difíceis. Aos colegas animadores, pelo estímulo e troca de experiências, especialmente a Willian Salvador ( In Memoriam ), cujos sonhos ainda nos matem tão próximos. À FUMP, por tanto apoio ao longo destes seis anos, que acredito ser impossível eu estar onde estou sem vocês. -
2 a Quotation of Normality – the Family Myth 3 'C'mon Mum, Monday
Notes 2 A Quotation of Normality – The Family Myth 1 . A less obvious antecedent that The Simpsons benefitted directly and indirectly from was Hanna-Barbera’s Wait ‘til Your Father Gets Home (NBC 1972–1974). This was an attempt to exploit the ratings successes of Norman Lear’s stable of grittier 1970s’ US sitcoms, but as a stepping stone it is entirely noteworthy through its prioritisation of the suburban narrative over the fantastical (i.e., shows like The Flintstones , The Jetsons et al.). 2 . Nelvana was renowned for producing well-regarded production-line chil- dren’s animation throughout the 1980s. It was extended from the 1960s studio Laff-Arts, and formed in 1971 by Michael Hirsh, Patrick Loubert and Clive Smith. Its success was built on a portfolio of highly commercial TV animated work that did not conform to a ‘house-style’ and allowed for more creative practice in television and feature projects (Mazurkewich, 1999, pp. 104–115). 3 . The NBC US version recast Feeble with the voice of The Simpsons regular Hank Azaria, and the emphasis shifted to an American living in England. The show was pulled off the schedules after only three episodes for failing to connect with audiences (Bermam, 1999, para 3). 4 . Aardman’s Lab Animals (2002), planned originally for ITV, sought to make an ironic juxtaposition between the mistreatment of animals as material for scientific experiment and the direct commentary from the animals them- selves, which defines the show. It was quickly assessed as unsuitable for the family slot that it was intended for (Lane, 2003 p. -
Shaun Le Mouton
STUDIOCANAL PRÉSENTE UNE PRODUCTION AARDMAN Un film réalisé par Richard Starzak et Mark Burton DISTRIBUTION PRESSE Durée : 1h25 Michèle ABITBOL-LASRY Sophie FRACCHIA Séverine LAJARRIGE 1, place du Spectacle SORTIE LE 1ER AVRIL 2015 184, boulevard Haussmann 92130 Issy-les-Moulineaux 75008 Paris Tél. : 01 71 35 11 19 Tél. : 01 45 62 45 62 [email protected] [email protected] / [email protected] Photos et dossier de presse sont disponibles sur www.studiocanal.fr Shaun est un petit mouton futé qui travaille, avec son troupeau, Comment survivre en ville quand on est un mouton ? Comment éviter pour un fermier myope à la ferme Mossy Bottom, sous l’autorité de d’être reconnu et donc échapper aux griffes acérées de Trumper le Bitzer, chien de berger dirigiste mais bienveillant et inefficace. La terrifiant responsable de la fourrière ? vie est belle, globalement, mais un matin, en se réveillant, Shaun Cette plongée urbaine sera pour le troupeau une course à 100 à se dit que sa vie n’est que contraintes. Il décide de prendre un l’heure, pleine d’aventures incroyables où Shaun va croiser la route jour de congé, avec pour cela un plan qui consiste à endormir le d’une petite chienne orpheline Slip, qui rêve d’avoir des parents fermier. Mais son stratagème fonctionne un peu trop bien et il perd et lui fera réaliser qu’il serait finalement bien plus heureux avec sa rapidement le contrôle de la situation. Une chose en entraînant une famille de moutons, à la ferme… autre, tout le troupeau se retrouve pour la première fois bien loin de la ferme et plus précisément : dans la grande ville. -
Télécharger Le Catalogue 2010
PARTENAIRES PARTENAIRES INSTITUTIONNELS PARTENAIRES CULTURELS PARTENAIRES PRIVÉS PARTENAIRES MÉDIAS SOMMAIRE ÉDITO Infos pratiques / 4 10 ans déjà, et en même temps... tant de chemin parcouru, tant de films, tant Nuit d’ouverture / 6 d’invités, tant d’émotions. Dix ans que nous partageons avec vous notre passion Compétition internationale / 10 Jury / 10 ` pour le format court. En 2000, le Festival naissait en s’intéressant à l’actualité Prix et clôture / 11 audiovisuelle, la création numérique, et en mettant la notion de rencontre et Fiction / 12 d’échange au cœur du projet. Les années ont passé, la production et la création Animation / 15 Expérimental / 18 ont évolué, et le Festival avec elles. Convergence des supports et des technologies, Vidéoclips / 20 il n’est plus question de scinder techniques numériques et argentiques, tout se Très Courts / 21 mélange, reste l’œuvre courte. Peu importe la technique et la diffusion. Théma « Duo/Duel » / 22 Corps à corps / 22 Face à face / 23 Tête à tête / 24 Depuis quelques années, le Festival s’est aussi ouvert à une évolution majeure : Nez à nez / 25 la création audiovisuelle qui s’émancipe de l’écran. Le lien entre l’image et la Côte à côte / 27 musique, l’image et les arts plastiques, ou encore l’image et le spectacle vivant, est VisualMix / 28 Vidéoclips / 28 devenu l’un des terrains majeurs de l’exploration artistique. « Contes et fables » de Lotte Reiniger / 28 Electrical Live Cinema + SiTT / 29 Cartune Xprez : Future Television / 31 Si le Festival évolue avec l’actualité des créateurs, il évolue aussi avec vous, Sculpture + Ambiteknomüsik / 31 notre public, toujours plus nombreux. -
Cinema: Reframed, Restored & Rediscovered, 26
PRESS RELEASE: 20 JUNE 2018 | Cinema Rediscovered returns to Bristol for its 3rd edition, 26 - 29 July followed by UK wide tour; putting lesser known cinematic visions centre stage and asking questions about the role of cinema. CINEMA: REFRAMED, RESTORED & REDISCOVERED, 26 - 29 July Cinema Rediscovered Bristol is thrilled to announce two major focuses; Reframing the Archive (Thu 26 July) and Restored & Rediscovered including brand new restorations of Maurice (1987), The Apartment (1960) and Le Crime de Monsieur Lange (1936), Aardman’s earliest films Animated Conversations (1977) and Conversation Pieces (1983) plus a 20th anniversary launch preview of The Big Lebowski (1998) REFRAMING THE ARCHIVES Pictured: Jema Desai, Founder of I am Dora (left), Danny Leigh, Senior Curator of fiction film and television at BFI National Archive, writer/curator Karen Alexander, The Final Girls, Joan Parsons, Time is Now & Head of Queen’s Film Theatre (right) Some of the most distinctive voices in cinema curation open up a conversation on the importance of re-presenting and reframing archives, and in shifting our perspective on the past. Speaker guests include Jemma Desai (Founder of I am Dora), The Final Girls, Joan Parsons (Time is Now), Sally Griffith (Anim18), Charlotte Harman (Compass Presents) and writer/curator Karen Alexander. Co-presented with BFI Film Audience Network (FAN) partners including Film Hub North, now leading on major FAN wide screen heritage activity, this is the first in a series of initiatives aimed at inspiring and challenging the exhibition and archive sector to reframe film heritage in the context of BFI2022 priorities and beyond. Danny Leigh, writer, broadcaster and Senior Curator of fiction film and television at BFI National Archive, gives his perspective on reframing the past, present and future of the archive looking at the very recent history of film with a focus on his personal interest in class representation. -
1997 Sundance Film Festival Awards Jurors
1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J. -
Ilan Eshkeri
ILAN ESHKERI AWARDS AND NOMINATIONS BRITISH ACADEMY GAMES AWARDS Ghost of Tsushima NOMINATION (2021) Music DICE AWARDS NOMINATION (2021) Ghost of Tsushima Outstanding Achievement in Original Music Composition INTERNATIONAL FILM-MUSIC Ghost of Tsushima CRITICS ASSOCIATION NOMINATION (2020) Best Original Score for a Video Game or Interactive Media SCL AWARDS NOMINATION (2021) Ghost of Tsushima Outstanding Original Score for Interactive Media MUSIC IN VISUAL MEDIA AWARD Ghost of Tsushima (2020) Outstanding Score – Video Game MUSIC IN VISUAL MEDIA AWARD “The Way of the Ghost" from Ghost of (2020) Tsushima Outstanding Song – Video Game HOLLYWOOD MUSIC IN MEDIA “Feels Like Summer” from SHAUN THE NOMINATION (2015) SHEEP Song-Animated Film *shared INTERNATIONAL FILM MUSIC STARDUST CRITICS ASSOCIATION AWARD (2007) Breakout Composer of the Year INTERNATIONAL FILM MUSIC STARDUST CRITICS ASSOCIATION NOMINATION (2007) Best Original Score-Fantasy/Science Fiction WORLD SOUNDTRACK AWARD HANNIBAL RISING NOMINATION (2007) Discovery Of The Year WORLD SOUNDTRACK AWARD LAYER CAKE NOMINATION (2004) Discovery Of The Year The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 1 ILAN ESHKERI FEATURE FILM FARMING Francois Ivernel, Andrew Levitas, Miranda Groundswell Productions Ballestros, Michael London, Charles de Rosen, Charles Steel, Janice Williams, James Wilson, prods. Adewale Akinnouoye-Agbaje, dir. THE WHITE CROW Carolyn Marks Blackwood, Ralph Fiennes, Sony Pictures Classics Francois Ivernel, Andrew Levitas, Gabrielle Tana, prods. Ralph Fiennes, dir. SWALLOWS AND AMAZONS Nick Barton, Nick O’Hagan, Joe Oppenheimer, Orion Pictures prod. Philippa Lowthorpe dir. THE EXCEPTION Judith Tossell, Bill Haber, Jim Seibel, prods. Egoli Tossell Film David Leveaux, dir. MEASURE OF A MAN Christian Taylor, prod. Great Point Media Jim Loach, dir. -
13099 Stats Year Book 09 Re
The UK Film Council is the Government-backed lead agency for film in the UK ensuring that the economic, cultural and educational aspects of film are effectively represented at home and abroad. Our goal is to help make the UK a global hub for film in the digital age, with the world’s most imaginative, diverse and vibrant film culture, underpinned by a flourishing, competitive film industry. We want to ensure there are no barriers to accessing our printed materials. If you, or someone you know, would like a large print, Braille, disc or audiotape version of this report, please contact our Communications Department at the following address: UK Film Council 10 Little Portland Street London W1W 7JG T +44 (0)20 7861 7861 F +44 (0)20 7861 7863 [email protected] www.ukfilmcouncil.org.uk Welcome to the 2009 UK Film Council Statistical Yearbook. This yearbook, the seventh we have published, is a rich source of industry data and analysis on film in the UK. This publication is one of the ways we deliver on our commitment to evidence- based film policy. We hope you enjoy this yearbook and find it useful. Contents 2008 – the year in review ..................................................4 8.5 Box office performance of four types of UK production in the UK and Ireland...............58 Chapter 1: The box office ..................................................6 8.6 International release rate of UK films ...................59 1.1 Admissions...............................................................7 8.7 International release rate of four -
Wallace and Gromit: Anoraknophobia Pdf, Epub, Ebook
WALLACE AND GROMIT: ANORAKNOPHOBIA PDF, EPUB, EBOOK Tristan Davies | none | 01 Sep 2000 | Hodder & Stoughton General Division | 9781840323016 | English | London, United Kingdom Wallace and Gromit: Anoraknophobia PDF Book The name derives from the Dutch phrase "aard man" meaning Nature Man, when joined together, "aardman" becomes "Earthman" more commonly translated to: "goblin"[citation needed]. A series of 5-minute films showcasing Wallace's latest wacky inventions. Nice tight copy, no names or marks inside. Published by Boxtree More information about this seller Contact this seller 4. I Agree This site uses cookies to deliver our services, improve performance, for analytics, and if not signed in for advertising. Gromit becomes increasingly suspicious of Preston, who is the sheep rustler, along with Gwendolene. Log in or register to write something here or to contact authors. This listing has ended. Retrieved on 2 November So begins the first compelling story. Home Groups Talk More Zeitgeist. Park also developed the clay modelled shorts featuring the adventures of Wallace and Gromit , a comical pair of friends: Wallace being a naive English inventor with a love of cheese, and Gromit his best friend, the intelligent but silent dog. A good rule of thumb is that series have a conventional name and are intentional creations , on the part of the author or publisher. Avoid series that cross authors, unless the authors were or became aware of the series identification eg. Wallace is the human of the pair and mostly the leader. Joy Bechtold added it Mar 15, Universal Conquest Wiki. Comic book art illustrator. This wiki All wikis. -
IMAGE Film and Video Collection 1
IMAGE Film and Video Collection 1 A B C D E F G 1 Box # Item # Title Producer Format Date Length 2 1 12 "The Afterlife of Grandpa" P.J. Pesce 3/4" 1988 23:34 3 1 1 "Travelin' Trains" Eric Mofford 3/4" 2/10/88 30 min Best of the Festival Part II: 6th Atlanta 4 1 6 Independant [sic] Film and Video Festival Meridith Monk 3/4" 60 min Alene Richards & Beverly 5 1 13 Brady Boomers, The Ginsburg 3/4" 1990 16:00 6 1 8 Dream #2 William J. Oates 3/4" 30 min 7 1 2 Fanny Kemble's Journal Gary Moss, Robin Reidy 3/4" 1981 30 min 8 1 5 Four Episodes from 1984 Marshall Peterson 3/4" 1985 30 min 9 1 3 Haute Culture II: Muntadas Santa Monica Place 3/4" 60 min 10 1 3A Haute Culture II: Muntadas Boston Museum of Fine Art 3/4" 60 min 11 1 3B Haute Culture II: Muntadas Boston Museum of Fine Art 3/4" 60 min 12 1 10 Physical Phenomena Steven O' Connor 3/4" 26:10:00 13 1 11 Shoes Required Joe Murphy 3/4" 1991 27:50:00 14 1 7 Small Miracles Toni Pezone 3/4" 15 1 9 Songs in Minto Life Curt Madison 3/4" 28:36:00 16 1 4 South of the Border: A Documentary Lisa Napoli 3/4" 1991 30 min 17 2 25 "Art of Memory" Woody Vasulka 3/4" 11/5/87 36:00:00 18 2 15 1. -
Shaun the Sheep's Creator
PRODUCTION NOTES STUDIOCANAL RELEASE DATES: UK – OCTOBER 18th 2019 SOCIAL MEDIA: Facebook - https://www.facebook.com/shaunthesheep Twitter - https://twitter.com/shaunthesheep Instagram - https://www.instagram.com/shaunthesheep/ YouTube - https://www.youtube.com/user/aardmanshaunthesheep For further information please contact STUDIOCANAL: UK ENQUIRIES [email protected] [email protected] 1 Synopsis Strange lights over the quiet town of Mossingham herald the arrival of a mystery visitor from far across the galaxy… For Shaun the Sheep’s second feature-length movie, the follow-up to 2015’s smash hit SHAUN THE SHEEP MOVIE, A SHAUN THE SHEEP MOVIE: FARMAGEDDON takes the world’s favourite woolly hero and plunges him into an hilarious intergalactic adventure he will need to use all of his cheekiness and heart to work his way out of. When a visitor from beyond the stars – an impish and adorable alien called LU-LA – crash-lands near Mossy Bottom Farm, Shaun soon sees an opportunity for alien-powered fun and adventure, and sets off on a mission to shepherd LU-LA back to her home. Her magical alien powers, irrepressible mischief and galactic sized burps soon have the flock enchanted and Shaun takes his new extra-terrestrial friend on a road-trip to Mossingham Forest to find her lost spaceship. Little do the pair know, though, that they are being pursued at every turn by a mysterious alien- hunting government agency, spearheaded by the formidable Agent Red and her bunch of hapless, hazmat-suited goons. With Agent Red driven by a deep-seated drive to prove the existence of aliens and Bitzer unwittingly dragged into the haphazard chase, can Shaun and the flock avert Farmageddon on Mossy Bottom Farm before it’s too late? 2 Star Power The creative team behind the world’s favourite woolly wonder explain how, in Farmageddon, they’ve boldly gone where no sheep has gone before..