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UPA : Redesigning Animation
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously -
(TMIIIP) Paid Projects Through August 31, 2020 Report Created 9/29/2020
Texas Moving Image Industry Incentive Program (TMIIIP) Paid Projects through August 31, 2020 Report Created 9/29/2020 Company Project Classification Grant Amount In-State Spending Date Paid Texas Jobs Electronic Arts Inc. SWTOR 24 Video Game $ 212,241.78 $ 2,122,417.76 8/19/2020 26 Tasmanian Devil LLC Tasmanian Devil Feature Film $ 19,507.74 $ 260,103.23 8/18/2020 61 Tool of North America LLC Dick's Sporting Goods - DecembeCommercial $ 25,660.00 $ 342,133.35 8/11/2020 53 Powerhouse Animation Studios, In Seis Manos (S01) Television $ 155,480.72 $ 1,554,807.21 8/10/2020 45 FlipNMove Productions Inc. Texas Flip N Move Season 7 Reality Television $ 603,570.00 $ 4,828,560.00 8/6/2020 519 FlipNMove Productions Inc. Texas Flip N Move Season 8 (13 E Reality Television $ 305,447.00 $ 2,443,576.00 8/6/2020 293 Nametag Films Dallas County Community CollegeCommercial $ 14,800.28 $ 296,005.60 8/4/2020 92 The Lost Husband, LLC The Lost Husband Feature Film $ 252,067.71 $ 2,016,541.67 8/3/2020 325 Armature Studio LLC Scramble Video Game $ 33,603.20 $ 672,063.91 8/3/2020 19 Daisy Cutter, LLC Hobby Lobby Christmas 2019 Commercial $ 10,229.82 $ 136,397.63 7/31/2020 31 TVM Productions, Inc. Queen Of The South - Season 2 Television $ 4,059,348.19 $ 18,041,547.51 5/1/2020 1353 Boss Fight Entertainment, Inc Zombie Boss Video Game $ 268,650.81 $ 2,149,206.51 4/30/2020 17 FlipNMove Productions Inc. -
Tesis En El Extranjero Y Mi Amazon.Com Personalizado
UNIVERSIDAD CATÓLICA ANDRÉS BELLO Facultad de Humanidades y Educación Escuela de Comunicación Social Mención Artes Audiovisuales “Trabajo de Grado” DE PIEDRADURA A SPRINGFIELD ANÁLISIS DEL LENGUAJE AUDIOVISUAL EN DOS SERIES DE DIBUJOS ANIMADOS Tesista María Dayana Patiño Perea Tutor: Valdo Meléndez Materán CARACAS, VENEZUELA 2004 A mis padres, Higgins y Francia. AGRADECIMIENTOS A Dios, por todas sus bendiciones. A mi papá, mi gran amor. Tu me has enseñado a sentarme y pensar, a levantarme y seguir y a luchar para conseguir mi lugar en esta vida. Eres mi mejor ejemplo y mi más grande orgullo. A mi mamá, por tu amor, tu nobleza, tu sabiduría y tu apoyo incoanaal ndicional, no importa la hora ni las distancias. Eres la mujer más maravillosa del mundo y yo tengo la suerte de que seas mi compañía y mi descanso en cada paso que doy. A mis hermanos, hermanas, cuñadas, tíos y primos, porque cada uno, alguna vez, sacó un momento de su tiempo para preguntar ¿cómo va la tesis? y, considerando el tamaño, ¿a quién se le puede olvidar una pregunta que te han hecho unas doscientas veces?...Los quiero a todos, infinitas gracias. A María Bethania Medina, Gabriela Prado y Carolina Martínez por el apoyo moral y los momentos de ocio, justificados o no, las quiero muchísimo. Gracias por tanto aguante. A Olivia Liendo, amiga, gracias por tantas sesiones de consulta cibernética y por ser, además, mi sensei y despertador personal. A Luis Manuel Obregón, mi compañero de tesis ad honorem . Primo, gracias por todo el tiempo y el apoyo que me diste para salir adelante en esto (y gracias también por todo el delivery)...muchacho, you rock! A Sasha Yánez, por la compañía durante tantos trasnochos y las conversaditas en el balcón. -
Richard G. Hewlett and Jack M. Holl. Atoms
ATOMS PEACE WAR Eisenhower and the Atomic Energy Commission Richard G. Hewlett and lack M. Roll With a Foreword by Richard S. Kirkendall and an Essay on Sources by Roger M. Anders University of California Press Berkeley Los Angeles London Published 1989 by the University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England Prepared by the Atomic Energy Commission; work made for hire. Library of Congress Cataloging-in-Publication Data Hewlett, Richard G. Atoms for peace and war, 1953-1961. (California studies in the history of science) Bibliography: p. Includes index. 1. Nuclear energy—United States—History. 2. U.S. Atomic Energy Commission—History. 3. Eisenhower, Dwight D. (Dwight David), 1890-1969. 4. United States—Politics and government-1953-1961. I. Holl, Jack M. II. Title. III. Series. QC792. 7. H48 1989 333.79'24'0973 88-29578 ISBN 0-520-06018-0 (alk. paper) Printed in the United States of America 1 2 3 4 5 6 7 8 9 CONTENTS List of Illustrations vii List of Figures and Tables ix Foreword by Richard S. Kirkendall xi Preface xix Acknowledgements xxvii 1. A Secret Mission 1 2. The Eisenhower Imprint 17 3. The President and the Bomb 34 4. The Oppenheimer Case 73 5. The Political Arena 113 6. Nuclear Weapons: A New Reality 144 7. Nuclear Power for the Marketplace 183 8. Atoms for Peace: Building American Policy 209 9. Pursuit of the Peaceful Atom 238 10. The Seeds of Anxiety 271 11. Safeguards, EURATOM, and the International Agency 305 12. -
2Nd Grade Animal Books Friday, November 25, 2011 5:25:03 PM Emmaus Lutheran School Sorted By: Title
AR BookGuide™ Page 1 of 463 2nd Grade Animal Books Friday, November 25, 2011 5:25:03 PM Emmaus Lutheran School Sorted by: Title Quiz Word Title Author Number Lang IL BL Pts F/NF Count Book RP RV LS VP Description 1, 2, 3: Counting Rhymes Mitter, Matt 75942 EN LG 2.0 0.5 F 241 N N - - - This is counting book featuring rhyming text and animals on a farm. 10 Little Hot Dogs Himmelman, John 141225 EN LG 2.1 0.5 F 335 N N - - - One by one, ten excitable dachshunds pile onto a chair. 10 Little Rubber Ducks Carle, Eric 103833 EN LG 2.4 0.5 F 404 N N N - N When a storm strikes a cargo ship, ten rubber ducks are tossed overboard and swept off in ten different directions. This story is based on an actual incident. The 108th Sheep Imai, Ayano 123396 EN LG 2.8 0.5 F 386 N N - - - Emma decides to count sheep one night when she cannot fall asleep, but when one of her helpers lands with a thud, she and the others must think of a way for the 108th sheep to make it over Emma's bed. The 14 Forest Mice and the Iwamura, Kazuo 12059 EN LG 2.9 0.5 F 449 N N - - - Members of the Forest Mouse family Harvest Moon Watch encounter tree frogs, dragonflies, inchworms, and birds as they climb a tree to enjoy the beauty of the setting sun and the rising moon. The 14 Forest Mice and the Iwamura, Kazuo 12061 EN LG 2.9 0.5 F 473 N N - - - The Forest Mice experience both hard Summer Laundry Day work and a lot of fun when they tackle a load of dirty laundry. -
Americana E-Journal of American Studies in Hungary
AMERICANA E-JOURNAL OF AMERICAN STUDIES IN HUNGARY VOLUME X, NUMBER 1, SPRING 2014 "ANIMATED NOIR: INVESTIGATING WALT DISNEY’S FEMALE CHARACTERS OF THE 1940S AND 1950S" BY EMMA BÁLINT Emma Bálint is an MA student at the Institute of English and American Studies, University of Szeged. Email: emma.balint@ieasszeged.hu INTRODUCTION Since the establishment of the studio in the early 1920s, the Walt Disney Productions’ animators have designed, drawn and animated numerous helpless damsels in distress, who always submissively abide by the rules of a strictly heterosexual and patriarchal realm. In the 1940s and 1950s, during the classical era of film noir, however, the animation studio daringly adopted the then popular cinematic style known for the portrayal of rather domineering women along with plots and themes generally unfit for young audiences. The purpose of this essay is to observe the overall influence of film noir on the renowned Disney imagery in the resulting animated noirs, namely Donald’s Crime (dir. Jack King, 1945), Duck Pimples (dir. Jack Kinney, 1945), and How to be a Detective (dir. Jack Kinney, 1952), with a particular focus on the way the typical Disney female character has been merged with the stereotypical noir woman, the femme fatale, who, in contrast, possesses both agency and narrative significance. Following a brief description of the era dominated by and the visual and narrative elements characteristic of the film noir style, I will discuss the short films and the female characters featured in them with the help of certain notions of psychoanalytic and feminist film theories, which have both been extremely influential in the study of film noir in general. -
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 -
Toy Story: How Pixar Reinvented the Animated Feature
Brown, Noel. " An Interview with Steve Segal." Toy Story: How Pixar Reinvented the Animated Feature. By Susan Smith, Noel Brown and Sam Summers. London: Bloomsbury Academic, 2017. 197–214. Bloomsbury Collections. Web. 2 Oct. 2021. <http:// dx.doi.org/10.5040/9781501324949.ch-013>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 2 October 2021, 03:24 UTC. Copyright © Susan Smith, Sam Summers and Noel Brown 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 1 97 Chapter 13 A N INTERVIEW WITH STEVE SEGAL N o e l B r o w n Production histories of Toy Story tend to focus on ‘big names’ such as John Lasseter and Pete Docter. In this book, we also want to convey a sense of the animator’s place in the making of the fi lm and their perspective on what hap- pened, along with their professional journey leading up to that point. Steve Segal was born in Richmond, Virginia, in 1949. He made his fi rst animated fi lms as a high school student before studying Art at Virginia Commonwealth University, where he continued to produce award- winning, independent ani- mated shorts. Aft er graduating, Segal opened a traditional animation studio in Richmond, making commercials and educational fi lms for ten years. Aft er completing the cult animated fi lm Futuropolis (1984), which he co- directed with Phil Trumbo, Segal moved to Hollywood and became interested in com- puter animation. -
El Cine De Animación Estadounidense
El cine de animación estadounidense Jaume Duran Director de la colección: Lluís Pastor Diseño de la colección: Editorial UOC Diseño del libro y de la cubierta: Natàlia Serrano Primera edición en lengua castellana: marzo 2016 Primera edición en formato digital: marzo 2016 © Jaume Duran, del texto © Editorial UOC (Oberta UOC Publishing, SL) de esta edición, 2016 Rambla del Poblenou, 156, 08018 Barcelona http://www.editorialuoc.com Realización editorial: Oberta UOC Publishing, SL ISBN: 978-84-9116-131-8 Ninguna parte de esta publicación, incluido el diseño general y la cubierta, puede ser copiada, reproducida, almacenada o transmitida de ninguna forma, ni por ningún medio, sea éste eléctrico, químico, mecánico, óptico, grabación, fotocopia, o cualquier otro, sin la previa autorización escrita de los titulares del copyright. Autor Jaume Duran Profesor de Análisis y Crítica de Films y de Narrativa Audiovi- sual en la Universitat de Barcelona y profesor de Historia del cine de Animación en la Escuela Superior de Cine y Audiovi- suales de Cataluña. QUÉ QUIERO SABER Lectora, lector, este libro le interesará si usted quiere saber: • Cómo fueron los orígenes del cine de animación en los Estados Unidos. • Cuáles fueron los principales pioneros. • Cómo se desarrollaron los dibujos animados. • Cuáles han sido los principales estudios, autores y obras de este tipo de cine. • Qué otras propuestas de animación se han llevado a cabo en los Estados Unidos. • Qué relación ha habido entre el cine de animación y la tira cómica o los cuentos populares. Índice -
The Effect of Exposure to an Agressive Cartoon on Children's Play. INSTITUTION Beaver Coll., Glenside, Pa
DOCUMENT RESUME ED 055 297 CG 006 673 AUTHOR Cameron, Samuel M.; And Others TITLE The Effect of Exposure to an Agressive Cartoon on Children's Play. INSTITUTION Beaver Coll., Glenside, Pa. PUB DATE Apr 71 NOTE 10p.; Paper presented at Annual Meeting of Eastern Psychological Association, New York, N. Y., April 15-17, 1971 EDRS PRICE MF-S0.65 HC-$3.29 DESCRIPTORS *Aggression; *Behavior; Behavior Theories; Learning; Pictorial Stimuli; *Play; *Preschool Children; *Stimulus Behavior; Violence; Visual Stimuli ABSTRACT The authors discuss their replications of 2 prominent studies in the area of modeling aggressive behavior; those of Lovaas and Bandura. In the first, they predicted that, given the same socio-economic background, there would be no differences between black and white children in the amount of aggressive play subsequent to viewing an aggressive cartoon. No significant differences are shown between the experimental and control groups for either blacks or whites. The second study, in which 43 pre-schoolers were divided into 3 subject groups, varied the level of aggressive content by showing a different cartoon to each group. It was assumed that the children exposed to the most aggression would emit the most aggressive responses in a subsequent free play period. Again, no significant differences were found. The authors discuss their inability to demonstrate a previously well-documented effect. (TL) TheEffect of Exposure to cm Aggressive Cartoon on Children's Play' - Samuel M, Cameron, Linda K Abraham, and Jean B, Chernicoff Beaver College A series of studies by Bandura and associates (Bandura, Ross, and Ross, 1961; i963) has indicated that children will model novel aggressive behaviors shown by a mai life, film, or ''cartoon"model , These studies also show that aggressive play behaviors other than the ravel ones being modeled will also show an increase subsequent to the child's viewing an aggressive scene-. -
Disenchantment 6,297 This TV-14 | 30Min | Animation, Adventure, Comedy | TV Series (2018– )
Find Movies, TV shows, Celebrities and more... All | Help IMDb Movies, TV Celebs, Events News & & Showtimes & Photos Community Watchlist Sign in with Facebook Other Sign in options FULL CAST AND CREW | TRIVIA | USER REVIEWS | IMDbPro | MORE SHARE Top-Rated Episodes 7.4/10 Rate Disenchantment 6,297 This TV-14 | 30min | Animation, Adventure, Comedy | TV Series (2018– ) Episode Guide 20 episodes S1.E9 To Thine Own Elf Be True After he learns a surprising secret about himself, Elfo heads home to Elfwood in search of the truth. 8.4 Rate S1.E10 Dreamland Falls As Dreamland celebrates an unexpected arrival while saying goodbye to a friend, everyday life is thrown into disarray. 1:42 | Trailer 7 VIDEOS | 65 IMAGES 8.2 Rate The medieval misadventures of a hard-drinking princess, her feisty elf, and her personal S1.E5 demon. Faster, Princess! Kill! Kill! Banished from the castle by Zøg, Bean Creators: Matt Groening, Josh Weinstein tries to work but has trouble keeping a job. Stars: Abbi Jacobson, Eric André, Nat Faxon | See full cast & crew » Elfo encounters a bizarre pair of siblings living in a candy house. Reviews Popularity 7.7 Rate 205 user | 18 critic 12 ( 136) See more episodes » Episodes Phil Rosenthal's 5 Favorite Food Seasons Years Films 2 1 2019 2018 Videos Phil Rosenthal, creator of "Everybody Loves See all 7 videos » Raymond" and host of "Somebody Feed Phil," picks the five tastiest food films of all time. See Phil's 5 favorite food-related movies » Photos Related News ‘Disenchantment’: A Tiny Demon Holds the Secret to a Major Growth Spurt for Matt Groening’s Netflix Series See all 65 photos » 1 day ago | Indiewire Disenchantment closes out its first season with a major betrayal and a Learn more destructive cliffhanger More Like This 2 days ago | The AV Club Futurama (1999–2013) Matt Groening Hands Out Signed Animation | Comedy | Sci-Fi Drawings at LAX, Gets Shocked by Real- Life Homer 8.5/10 3 days ago | TMZ Fry, a pizza guy, is accidentally frozen in 1999 and thawed out New Year's Eve 2999. -
Think in Pink: La Genialidad En La Ilustración Y El Color
otros personajes como Bugs Bunny, Daffy Duck y Elmer Fudd. Freleng ganó varios de premios de la academia mientras trabajaba para Warner Bros en función de su creatividad, con Tweety (1947), Speedy Gonzales (1955), Birds Anonymous (1957) y Knighty Knight Bugs (1958). Fue todo un maestro de la animación: su instinto, agudeza intelectual y sentido del humor le permitieron coordinar la acción ilustrada, el diálogo y la música con una sensibilidad impecable y trascendental. Por esto su trabajo ha sido uno si no el más influyente en las generaciones posteriores de animadores y directores de animación. Think in Pink: Murió a la edad de 89 años en California, su obra siempre la genialidad en la será recordada por artistas de la ilustración, amantes de la ilustración y el color historieta y de la animación. * Contraste Figura Fondo Si alguien quiere enseñar color, las ilustraciones de Friz bien uces.dg pueden servir como vehiculo didáctico. Como todos los maestros de la animación él entendía que el conocimiento sobre la percepción es una de las herramientas ensayo imprescindibles para poder construir un relato visual. Podemos darnos cuenta de esto mismo analizando las secuencias de cualquiera de las tiras. Isador “Friz” Freleng ilustrador y creador El creador El genial ilustrador Isador “Friz” Freleng nace el 21 de agosto de 1905 en Kansas City, USA. Sesenta y tres años fueron los que consagró a la industria de Escena 1 los dibujos animados en principio como como ilustrador, y luego como creador, productor y director. El recurso del contraste entre figura y fondo es uno de los más Sus primeros trabajos fueron en 1930 creando el dibujo utilizados por el ilustrador para destacar a los personajes “Sinkin in the Bathtub” y en 1933 dirigiendo el primer dibujo por sobre el entorno.