Concert in the Parte to Feature
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Tidligere Vindere 1975-2012
I dette dokument kan du finde tidligere vindere af Odense Internationale Film Festival. Derudover kan du se, hvem der var jury det pågældende år samt læse en kort beskrivelse af de enkelte festivaler. Følg hyperlinksene herunder for at komme frem til det ønskede år: 1975, 1977, 1979, 1981, 1983, 1985, 1987, 1989, 1991, 1993, 1994, 1995, 1996, 1997, 1998, 1999, 2000, 2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012 Hvis du har spørgsmål, er du altid velkommen til at kontakte os på telefon 6551 2837 eller på mail [email protected] 1975, 27. juli – 4. august I 1975 afholdes festivalen for første gang under navnet Den Internationale Eventyrfestival. Festivalen kunne præsentere 58 udvalgte film fra 20 forskellige lande. Filmene blev vist i Palace Biografen. Juryen bestod af: - Jan Lenica, Polen - Thorbjørn Egner, Norge - Georg Poulsen, Danmark - Niels Oxenvad, Danmark - Ebbe Larsen, Danmark 1.pris - Guldpris THE THREE COMPANIONS af Jan Karpas, Tjekkoslovakiet THE LEGEND OF POUL BUNYAN af Sam Weiss, USA 2.pris - Sølvpris THE LITTLE MATCH GIRL af Kazuhiko Watanabe, Japan Vinderfilm THE FROG PRINCE af Jim Henson, USA THE SHADOW af Jørgen Vestergaard, Danmark THE SWINEHERD af Gene Deitch, Danmark ARROW TO THE SUN af Gerald McDermott, USA BLACK OR WHITE af Waclaw Wajser, Polen Personlige priser Thorbjørn Egner: THE BAG OF APPLES af Vladimir Bordzilovskij, U.S.S.R. Speciel Jurypris: THE SERIES OF CARTOONS af Raoul Servais, Belgien 1977, 31. juli - 7. august Den 2. Internationale Eventyrfestival bød på 68 film fra 18 forskellige lande. Filmene blev vist i Palads Teatret, Bio Centret, Folketeatret Grand og Bio Vollsmose. -
Con De Animaci Ó N Revista Anual De Investigación
CON DE ANIMACI Ó N REVISTA ANUAL DE INVESTIGACIÓN Nº 7. 2017: LA ANIMACIÓN A ESCENA http://conadeanimacion.webs.upv.es Edita: Grupo de Animación: Arte e Industria Coordinación de este número: Departamento de Dibujo, Universitat Politècnica de València Beatriz Herráiz Zornoza María Lorenzo Hernández Dirección de la revista: María Lorenzo Hernández Asistencia a la edición: Dep. Dibujo, Universitat Politècnica de València Adriana Navarro Álvarez Consejo de Redacción: Maquetación y diseño web: Sara Álvarez Sarrat Patricia Lara Hernández Dep. Dibujo, Universitat Politècnica de València Mª Susana García Rams Soporte técnico: Dep. Dibujo, Universitat Politècnica de València Luis Morcillo Muñoz Raúl González Monaj DCADHA, Universitat Politècnica de València Imagen de cubierta: Beatriz Herráiz Zornoza Maduixa Teatre DCADHA, Universitat Politècnica de València Mª Ángeles López Izquierdo Colaboradores de este número: Dep. Dibujo, Universitat Politècnica de València Sara Álvarez Sarrat Beatriz Herráiz Zornoza Ignacio Meneu Oset Silvia Carpizo María Lorenzo Hernández Dep. Dibujo, Universitat Politècnica de València Juan Alberto Conde Aldana Blanca Machuca Casares Luis Morcillo Muñoz Juan M. Cristancho Hernández José Moo Dep. Dibujo, Universitat Politècnica de València Tania De León Yong Adriana Navarro Álvarez Miguel Vidal Ortega Adrián Encinas Salamanca Miguel Ángel Roque López Dep. Dibujo, Universitat Politècnica de València Marta Gil Soriano Vincenzo Sansone Raúl González Monaj Lynn Tomlinson Comité Científico: Eliane Gordeeff Cecilia Traslaviña Aramís Acosta Caulineau Estudios de Animación ICAIC, La Habana (Cuba) Jordi Costa Vila Agradecimientos: Crítico de cine César Díaz Meléndez, Barry Purves, Alberto Vázquez, Maduixa Jaume Duran Castells Teatre, Dolores Furió, Adolfo Muñoz, Bibiana Rojas, Marcelo Comunicació Audiovisual, Universitat de Barcelona Dematei, Kathy Rose, Miwa Matreyek. -
From Doodles to Pixels Over a Hundred Years of Spanish Animation Estudios Chamartin at Casa Batlló, Barcelona, 1940’S
From Doodles to Pixels_ Over a Hundred Years of Spanish Animation Estudios Chamartin at Casa Batlló, Barcelona, 1940’s. Archivos Filmoteca Española. From Doodles to Pixels Over a Hundred Years of Spanish Animation FILM PROGRAMME CURATOR: Carolina López DVD PRODUCTION: Cameo, CCCB and AC/E CONSULTANTS: Andrés Hispano, Emilio de la Rosa WITh ThE COLLAboration OF Filmoteca de Catalunya, and Alfons Moliné Filmoteca Española, Movierecord, Tres60 Bcn, Lobster Films COORDINATOR: Cloe Masotta ORGANIZATION: Audiovisual and Multimedia Department COORDINATOR AC/E: Anael García CCCB. Director, Ángela Martínez. PRODUCTION: CCCB and AC/E 2 INDEX_ ThE PROject - pag. 4 PROjECT FORMAT AND CALENDAR - pag. 5 Session 1. DOODLES - pag. 6 Session 2. UNDER ThE YOKE - pag. 7 Session 3 .MODERN TIMES - pag. 8 Session 4. MACIÁN, ThE MAESTRO - pag. 9 Session 5. ThE ARTIST’S TRACE - pag. 10 Session 6.hUMOR AND CARNAGE - pag. 11 Session 7.DESTINO hOLLYWOOD (AND bEYOND) - pag. 12 Session 8. NEXT GENERATION - pag. 13 FILM PROGRAMME’S TEChNICAL DATA - pag. 14 FILMS MATERIAL’S SOURCE - pag. 16 ThE CURATORS - pag. 18 contact information - pag. 19 Estudios Moro Commercials (1954-1964) Todas prefieren… (Medias Jenny), José Luis Moro, 1958 3 ThE PROjECT_ From Doodles to Pixels. Over One Hundred Years of Spanish Animation is a response to the desire to showcase a little known history—that of Spanish animation cinema. Films like Chico & Rita (Javier Mariscal, Fernando Trueba y Tono Errando, 2010), Las aventuras de Tadeo Jones (Enrique Gato, 2012) or Pos Eso (Sam, 2014) have put Spanish animation on the international map, but these examples are just the tip of the iceberg of the talent and years of hard work involved in creating art and industry, in some cases against all the odds. -
Art I Animació Art and Animation
Art i animació Art and Animation MARCEL PIÉ BARBA a tesis doctoral de l‘Anna Miquel es titula he title of Anna Miquel’s doctoral thesis Art i animació, una declaració d’intencions is Art i animació [Art and Animation]; it is an Ltan diàfana i honesta que mereix encapça- Topen and honest declaration, fully de- lar aquest text. Art va ser el que va fer durant tota serving of its place at the head of this text. Art la seva vida, amb una abnegació digne d’admira- was what she did her entire life, with a spirit of ció, i tot i que la pintura va ser la seva principal forma d’expressió, la seva associació amb el was her main expressive channel, her connec- camp de l’animació és inevitable. Ambdós disci- the inevitable about it. Both disciplines were with - her from the very start to the end of her artistic rebé sempre espais i discurs, moldejant una tra- career, almost always sharing the physical spac- jectòria manifestament rica en llenguatges. En es she worked in as well as her discourse, mould- - ing a career that would be so manifestly rich in na va fer durant tota la seva vida, a l’estudi, a la galeria i a la facultat, i ho va fer de la mateixa art and animation on the same plane her entire manera que va afrontar la pintura o la docència, life—in the studio, in the gallery and at the facul- amb sinceritat i valentia. ty—doing so in the same way that she ap- Aquest text vol ser un merescut reconeixe- proached painting and teaching, with sincerity ment a la seva tasca en el camp de l’animació, and courage. -
The BALTZER/BALSOR Family in North America
THE BALTZER/BALSOR FAMILY IN NORTH AMERICA ***** THE DESCENDANTS OF JOHANNES CHRISTOPHER BALTZER 2003 The BALTZER/BALSOR Family in North America TABLE OF CONTENTS INTRODUCTION iii ACKNOWLEDGMENTS iv DATA ON COMPACT DISK iv COPYRIGHT NOTICE v FINDING YOUR WAY AROUND vi TIME-LINE AND EARLY BALTZER/BALSOR LINEAGE 1 EMIGRATION AND IMMIGRATION 9 THE IMMIGRANT FAMILY OF JOHANNES CHRISTOPH BALTZER (#1) 14 THE DESCENDANTS OF CHRISTOPHER HENRICH BALTZER (#2) 16 THE DESCENDANTS OF PETER BALSOR (#600) 130 MISCELLANEOUS BALSOR FAMILIES 181 APPENDICES APPENDIX A: COATS OF ARMS 182 APPENDIX B: RAFTING DOWN THE RHINE 193 APPENDIX C: GENEALOGICAL DIFFICULTIES 194 APPENDIX D: THE DESCENDANTS OF ELIZABETH BALSOR 196 INDEX 200 Note: The PDF document page numbers do not match the actual page numbers due to the use of Roman numerals for the introductory pages. Page ii The BALTZER/BALSOR Family in North America INTRODUCTION Members of the BALTZER family were pre-Loyalist settlers in Lunenburg and Annapolis Counties of Nova Scotia. Consequently many Annapolis Valley families can trace their origins back to one of the children of Christopher BALSOR or Peter BALSOR, the two sons of the immigrant settler, Johannes Christopher BALTZER. Daughters of son Christopher BALSOR married into the McBRIDE, ENGLISH, BURNS, MARGESON, THOMAS and DANIELS familes. Daughters of son Peter BALSOR married into the BARTEAUX, RICE, RILEY and PORTER families. To research all these families, as well as other female lines from the next generation, are in themselves family histories, and would have been an over whelming task so these branches of the family receive only brief coverage in this family history. -
Joint Petition to Participate of the Mpaa-Represented Program Suppliers
Before the COPYRIGHT ROYALTY JUDGES Washington, D.C. ___________________________________ ) In the Matter of ) ) Docket No. 14-CRB-0010-CD (2013) Distribution of the 2013 ) Cable Royalty Funds ) ___________________________________ ) JOINT PETITION TO PARTICIPATE OF THE MPAA-REPRESENTED PROGRAM SUPPLIERS Pursuant to the notice published in the Federal Register announcing the commencement of a distribution proceeding regarding the 2013 cable royalty funds (“2013 Proceeding”) and requesting petitions to participate from interested parties, 80 Fed. Reg. 32182 (June 5, 2015) (“Notice”), the Motion Picture Association of America, Inc. (“MPAA”), its member companies and other producers and distributors of syndicated series, movies, specials, and non-team sports broadcast by television stations and retransmitted by cable systems who have agreed to representation by MPAA (“MPAA-represented Program Suppliers”),1 hereby petition the Copyright Royalty Judges (“Judges”) to participate in both Phase I and Phase II of the 2013 Proceeding, as required by 37 C.F.R. § 351.1(b)(2)(ii). Historically, at the Phase I level of each royalty year’s distribution proceeding, MPAA has represented the interests of all Program Suppliers. MPAA intends to represent those same interests in Phase I of the 2013 Proceeding. 1 The definitions of the “Program Suppliers” and other Phase I program categories were adopted by the Phase I parties in a prior proceeding and continue to be followed by the parties. See Joint Motion Of The Phase I Parties To Adopt Stipulation As To Claimant Group Categorization And Scope Of Claims, Docket No. 2007-3 CRB CD 2004- 2005 at Exhibit A (October 2, 2009). 6923119.2/43507-00075 In Phase II of the 2013 Proceeding, MPAA will represent the MPAA-represented Program Suppliers exclusively. -
Before the COPYRIGHT ROYALTY JUDGES Washington, D.C
Before the COPYRIGHT ROYALTY JUDGES Washington, D.C. ___________________________________ ) In the Matter of ) ) Docket No. 14-CRB-0011-SD (2013) Distribution of the 2013 ) Satellite Royalty Funds ) ___________________________________ ) JOINT PETITION TO PARTICIPATE OF THE MPAA-REPRESENTED PROGRAM SUPPLIERS Pursuant to the notice published in the Federal Register announcing the commencement of a distribution proceeding regarding the 2013 satellite royalty funds (“2013 Proceeding”) and requesting petitions to participate from interested parties, 80 Fed. Reg. 32182 (June 5, 2015) (“Notice”), the Motion Picture Association of America, Inc. (“MPAA”), its member companies and other producers and distributors of network and syndicated series, movies, specials, and non- team sports broadcast by television stations and retransmitted by satellite systems who have agreed to representation by MPAA (“MPAA-represented Program Suppliers”),1 hereby petition the Copyright Royalty Judges (“Judges”) to participate in both Phase I and Phase II of the 2013 Proceeding, as required by 37 C.F.R. § 351.1(b)(2)(ii). Historically, at the Phase I level of each royalty year’s distribution proceeding, MPAA has represented the interests of all Program Suppliers. MPAA intends to represent those same interests in Phase I of the 2013 Proceeding. 1 The definitions of the “Program Suppliers” and other Phase I program categories were adopted by the Phase I parties in a prior proceeding and continue to be followed by the parties, see Joint Motion Of The Phase I Parties To Adopt Stipulation As To Claimant Group Categorization And Scope Of Claims, Docket No. 2007-3 CRB CD 2004- 2005 at Exhibit A (October 2, 2009) , except that for satellite royalty distribution purposes, network programs are compensable. -
From Doodles to Pixels Over a Hundred Years of Spanish Animation INDEX
From Doodles to Pixels_ Over a Hundred Years of Spanish Animation INDEX_ ThE PROject - pag. 4 PROjECT FORMAT AND CALENDAR - pag. 5 Session 1. DOODLES - pag. 6 Session 2. UNDER ThE YOKE - pag. 7 Session 3 .MODERN TIMES - pag. 8 Session 4. MACIÁN, ThE MAESTRO - pag. 9 Session 5. ThE ARTIST’S TRACE - pag. 10 Session 6.hUMOR AND CARNAGE - pag. 11 Session 7.DESTINO hOLLYWOOD (AND bEYOND) - pag. 12 Session 8. NEXT GENERATION - pag. 13 FILM PROGRAMME’S TEChNICAL DATA - pag. 14 FILMS MATERIAL’S SOURCE - pag. 16 ThE CURATORS - pag. 18 contact information - pag. 19 Estudios Chamartin at Casa Batlló, Barcelona, 1940’s. Archivos Filmoteca Española. From Doodles to Pixels Over a Hundred Years of Spanish Animation FILM PROGRAMME CURATOR: Carolina López DVD PRODUCTION: Cameo, CCCB and AC/E CONSULTANTS: Andrés Hispano, Emilio de la Rosa WITh ThE COLLAboration OF Filmoteca de Catalunya, and Alfons Moliné Filmoteca Española, Movierecord, Tres60 Bcn, Lobster Films COORDINATOR: Cloe Masotta ORGANIZATION: Audiovisual and Multimedia Department COORDINATOR AC/E: Anael García CCCB. Director, Ángela Martínez. Estudios Moro Commercials (1954-1964) PRODUCTION: CCCB and AC/E Todas prefieren… (Medias Jenny), José Luis Moro, 1958 2 3 ThE PROjECT_ Format AND FILM PROGRAMME CONTENTS_ From Doodles to Pixels. Over One Hundred Years of Spanish Animation is The film programme, curated by Carolina López, charts a course through a a response to the desire to showcase a little known history—that of Spanish selection of the landmark works of Spanish animation of all times. animation cinema. Films like Chico & Rita (Javier Mariscal, Fernando Trueba y Tono Errando, 2010), Las aventuras de Tadeo Jones (Enrique Gato, 2012) The cycle includes historic films (from 1908 to the end of the dictatorship or Pos Eso (Sam, 2014) have put Spanish animation on the international in 1975) and contemporary shorts (from 1975 to the present day). -
Design in Motion ;12.50
— DESIGN IN MOTION ;12.50 The Art and Technique of Animation by John Ha as and Roger Manvell Combining he techniques of the film- maker with hose of the artist, the animated film is a ne ' art form which today includes many diffe nt kinds, from comedy and fanta rama and films of fact, as well as televisic 1 commercials. During the Dast ten years, more than twenty cou itries have been developing their own i dividual styles and subjects in anirr The result is an astonishing creative ac lievement in both graphic art and ftlm-m iking, all the more fascinating because it s new. In several countries, animation epresents the most advanced kind of gra )hic design and use of color, Its s* ngefrom meticulous realism totheabst act, from diagrammatic designs for films or science to the evolving colors of impress onistic fantasy. In short, the new art of inimation has developed into forms of fli id design that bring free move :o painting. This book s a very fully illustrated and up-to-date account of contemporary design in c ne of the most flourishing fields of m )dern art. The authors have drawn on t ie work of studios all over the world to sr ow what this new art form is like ling, in addition to the U..S.A. and Great 3ritain, Canada, France, Italy, Yugoslavia , Poland, Czechoslovakia, the USSR. G iermany, Spain, Hungary, China, Jap an, Roumania, Holland and Brazil. munication Books jse, Publishers Street, New York 22 37417 NilesBlvd ^MM 510-494-1411 Fremont, CA 94536 www.nilesfilmmuseum.org Scanned from the collections of Niles Essanay Silent Film Museum Coordinated by the Media History Digital Library www.mediahistoryproject.org Funded by a donation from Jeff Joseph Digitized by the Internet Archive in 2012 with funding from Media History Digital Library http://archive.org/details/designinmotionOOhala DESIGN IN MOTION DESIGN IN MOTION VISUAL COMMUNICATION BOOKS John Halas Hastings House • Publishers New York 22 Roger Manvel S l\ i\ c\C:^\ \ i ^4^ Copyright c John Halas and Hennerton Productions Ltd. -
(Iowa City, Iowa), 1943-12-11
Ration Calendar iIl\ Will a IIoeIli PIIOCESSED FOODS veen . lamps A. B . C (book 4, Slightly Cooler eJlpll'e Dec. 20. green . tampa D. E . F eltPlre Jan. 20: ieh has MEAT brown stampa L. M. and N (book 3) expire lan. I; SUGAlI ajamp 29 (book 4) aplrn Jan. 1$; IOWA: Ma.U7 C....,.. ....bU,. les Car_ SHOE otamp 18 (book I) and airplane ab~t (book 3) Yalld Indefinitely: GABOLlNE A-S coupons expire THE DAILY Iow~~ .wei'. Iss Cora Jan. 21; FUEL OIL per. 1 coupons expire Jan. 3. tlle coi_ Iowa City'. Morning Newspaper le selec. no .u1OCl.U'&D ..... r. Gar. FIVE CENTS ·TRB ASSOCIATBD ""SS IOWA CITY. IOWA SATURDAY. DOCEMBER 11. 1943 VOLUME XLIV NUMBER 66 ~ Stout be pre~ WHY ALL THE CAMERAS? THERE ARE THREE R~SONS i, "The ps. stu. Sic, will cd 1>rot : "Com~ to Reds (I<bnb!e ~ Hele~ . Iiillsi :JOe' Dr : Phym~ ret Ann Nazis Isolated. qt .Mig nano· I Yanksr-B-rit--'-ish~N-o~w--SI-raddle r DramaSurrounds- . 'rMos~ow Admits Nazi Slice ~ ~~~r H~~!I \~~i~~E!~ ( ~~S~i~~ i::' ~~%a I I~o~~Y.t!~I!~_~u~r ~~~~~~~nnY am) Briti b Iroopli in (li~ht !.lay of th(' bitler 'l fi!!hting of the ha captur d Znarn uka in the Dniep r I>t>nd. kuooking an im- ('util' Italilln campai~n hll\'(' isulat d tht' Ocrmall 'Ironghold of * * * portant prop from the G rmans' easternmOilt salient to p ed we't Mi"IUUlo R'ullI'uiug I h . vHlIl'YK to Rome, it )fIlS announced yester- VALLETTA, M a I t a (AP) - and uth toward other k ypoin ,but .10 cow admitted today 8 dllY, and they now !oit llJo,tl'idl' th main highway and railroad be- President Roosevelt made a dra- deep Nazi penetration into the Kiev bulge, rolling the Ru iang malic three-hour appearance on b . -
Joint Petition to Participate of the Mpaa-Represented Program Suppliers
Before the COPYRIGHT ROYALTY JUDGES Washington, D.C. p6 2015 In the Matter of Docket No. 14-CRB-0010-CD (2013) Distribution of the 2013 Cable Royalty Funds Rcccived JUL ij 6 2015 JOINT PETITION TO PARTICIPATE OF THE MPAA-REPRESENTED PROGRAM SUPPLIERS Pursuant to the notice published in the Federal Register atmouncing the commencement of a distribution proceeding regarding the 2013 cable royalty funds ("2013 Proceeding") and requesting petitions to participate from interested parties, 80 Fed. Reg. 32182 (June 5, 2015) ("Notice"), the Motion Picture Association of America, Inc. ("MPAA"), its member companies and other producers and distributors of syndicated series, movies, specials, and non-team sports broadcast by television stations and retransmitted by cable systems who have agreed to representation by MPAA ("MPAA-represented Program Suppliers"),'ereby petition the Copyright Royalty Judges ("Judges") to participate in both Phase I and Phase II of the 2013 Proceeding, as required by 37 C.F.R. $ 351.1(b)(2)(ii). Historically, at the Phase I level of each royalty year's distribution proceeding, MPAA has represented the interests of all Program Suppliers. MPAA intends to represent those same interests in Phase I of the 2013 Proceeding. 'he definitions of the "Program Suppliers" and other Phase I program categories were adopted by the Phase I parties in a prior proceeding and continue to be followed by the parties. See Joint Motion Of The Phase I Parties To Adopt Stipulation As To Claimant Group Categorization And Scope Of Claims, Docket No. 2007-3 CRB CD 2004- 2005 at Exhibit A (October 2, 2009). -
Illll Ol~.Ut\Lf, 'Tof MISSISSIPPI • F.DUC.ATION LIBRARY COMMISSION ---·~1
* IMISSISMPl'I .illll Ol~.uT\lf, 'TOf MISSISSIPPI • F.DUC.ATION LIBRARY COMMISSION ---·~1----- , ......~-~ _ ... M-.>O ACKNOWLEDGEMENTS Mississippi Department of Education Carey M, Wright, Ed. D. Tenette Smith, Ph.D., Bureau Director State Superintendent of Education Office of Elementary Education and Reading Kim Benton, Ed. D. Jill Dent, Ph.D., Bureau Director Chief Academic Officer Early Childhood Nathan Oakley, Ph.D., Executive Director Elizabeth Simmons, School Library Specialist Office of Elementary Education and Reading Office of Elementary Education and Reading Jean Massey, Executive Director Melissa Banks, Instructional Technology Office of Secondary Education Office of Elementary Education and Reading The Mississippi State Board of Education, the Mississippi Department of Education, the Mississippi School for the Arts, the Mississippi School for the Blind, the Mississippi School for the Deaf, and the Mississippi School for Mathematics and Science do not discriminate on the basis of race, sex, color, religion, national origin, age, or disability in the provision of educational programs and services or employment opportunities and benefits. The following office has been designated to handle inquiries and complaints regarding the nondiscrimination policies of the above mentioned entities: Director, Office of Human Resources Mississippi Department of Education 359 North West Street | Suite 203 Jackson, Mississippi 39205-0771 601-359-3511 2018 Summer Reading 1 TABLE OF CONTENTS Overview 3 MAGNOLIA Resources 4 Find a Book, Mississippi 5 Start with a Book 6 Pre-Kindergarten Resources 8 Kindergarten - Grade 6 Resources 12 Grade 7 - Grade 12 Resources 42 Summer Reading and CCRS 71 2018 Summer Reading 2 Summer Reading Overview Music brings people together; throughout history and around the world, music has been a special part of people’s lives, and it continues to play a fundamental role in celebrations, self-expression, communication, connection, and daily life.