Finding Nemo
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Suggestions for Top 100 Family Films
SUGGESTIONS FOR TOP 100 FAMILY FILMS Title Cert Released Director 101 Dalmatians U 1961 Wolfgang Reitherman; Hamilton Luske; Clyde Geronimi Bee Movie U 2008 Steve Hickner, Simon J. Smith A Bug’s Life U 1998 John Lasseter A Christmas Carol PG 2009 Robert Zemeckis Aladdin U 1993 Ron Clements, John Musker Alice in Wonderland PG 2010 Tim Burton Annie U 1981 John Huston The Aristocats U 1970 Wolfgang Reitherman Babe U 1995 Chris Noonan Baby’s Day Out PG 1994 Patrick Read Johnson Back to the Future PG 1985 Robert Zemeckis Bambi U 1942 James Algar, Samuel Armstrong Beauty and the Beast U 1991 Gary Trousdale, Kirk Wise Bedknobs and Broomsticks U 1971 Robert Stevenson Beethoven U 1992 Brian Levant Black Beauty U 1994 Caroline Thompson Bolt PG 2008 Byron Howard, Chris Williams The Borrowers U 1997 Peter Hewitt Cars PG 2006 John Lasseter, Joe Ranft Charlie and The Chocolate Factory PG 2005 Tim Burton Charlotte’s Web U 2006 Gary Winick Chicken Little U 2005 Mark Dindal Chicken Run U 2000 Peter Lord, Nick Park Chitty Chitty Bang Bang U 1968 Ken Hughes Chronicles of Narnia: The Lion, PG 2005 Adam Adamson the Witch and the Wardrobe Cinderella U 1950 Clyde Geronimi, Wilfred Jackson Despicable Me U 2010 Pierre Coffin, Chris Renaud Doctor Dolittle PG 1998 Betty Thomas Dumbo U 1941 Wilfred Jackson, Ben Sharpsteen, Norman Ferguson Edward Scissorhands PG 1990 Tim Burton Escape to Witch Mountain U 1974 John Hough ET: The Extra-Terrestrial U 1982 Steven Spielberg Activity Link: Handling Data/Collecting Data 1 ©2011 Film Education SUGGESTIONS FOR TOP 100 FAMILY FILMS CONT.. -
22Nd NFF Announces Screenwriters Tribute
FOR IMMEDIATE RELEASE NANTUCKET FILM FESTIVAL ANNOUNCES TOM MCCARTHY TO RECEIVE 2017 SCREENWRITERS TRIBUTE AWARD NICK BROOMFIELD TO BE RECOGNIZED WITH SPECIAL ACHIEVEMENT IN DOCUMENTARY STORYTELLING NFF WILL ALSO HONOR LEGENDARY TV CREATORS/WRITERS DAVID CRANE AND JEFFREY KLARIK WITH THE CREATIVE IMPACT IN TELEVISION WRITING AWARD New York, NY (April 6, 2017) – The Nantucket Film Festival announced today the honorees who will be celebrated at this year’s Screenwriters Tribute—including Oscar®-winning writer/director Tom McCarthy, legendary documentary filmmaker Nick Broomfield, and ground-breaking television creators and Emmy-nominated writing team David Crane and Jeffrey Klarik. The 22nd Nantucket Film Festival (NFF) will take place June 21-26, 2017, and celebrates the art of screenwriting and storytelling in cinema and television. The 2017 Screenwriters Tribute Award will be presented to screenwriter/director Tom McCarthy. McCarthy's most recent film Spotlight was awarded the Oscar for Best Picture and won him (and his co-writer Josh Singer) an Oscar for Best Original Screenplay. McCarthy began his career as a working actor until he burst onto the filmmaking scene with his critically acclaimed first feature The Station Agent, starring Peter Dinklage, Patricia Clarkson, Bobby Cannavale, and Michelle Williams. McCarthy followed this with the equally acclaimed film The Visitor, for which he won the Spirit Award for Best Director. He also shared story credit with Pete Docter and Bob Peterson on the award-winning animated feature Up. Previous recipients of the Screenwriters Tribute Award include Oliver Stone, David O. Russell, Judd Apatow, Paul Haggis, Aaron Sorkin, Nancy Meyers and Steve Martin, among others. -
Cars Tangled Finding Nemo Wreck It Ralph Peter Pan Frozen Toy Story Monsters Inc. Snow White Alice in Wonderland the Little Merm
FRIDAY, APRIL 3RD – DISNEY DAY… AT HOME! Activity 1: • Disney Pictionary: o Put Disney movies and character names onto little pieces of paper and fold them in half o Put all of the pieces of paper into a bowl o Then draw it for their team to guess Can add a charade element to it rather than drawing if that is preferred o If there are enough people playing, you can make teams • Here are some ideas, you can print these off and cut them out or create your own list! Cars Tangled Finding Nemo Wreck It Ralph Peter Pan Frozen Toy Story Monsters Inc. Snow White Alice in Wonderland The Little Mermaid Up Brave Robin Hood Aladdin Cinderella Sleeping Beauty The Emperor’s New Groove The Jungle Book The Lion King Beauty and the Beast The Princess and the Frog 101 Dalmatians Lady and the Tramp A Bug’s Life The Fox and the Hound Mulan Tarzan The Sword and the Stone The Incredibles The Rescuers Bambi Fantasia Dumbo Pinocchio Lilo and Stitch Chicken Little Bolt Pocahontas The Hunchback of Notre Wall-E Hercules Dame Mickey Mouse Minnie Mouse Goofy Donald Duck Sully Captain Hook Ariel Ursula Maleficent FRIDAY, APRIL 3RD – DISNEY DAY… AT HOME! The Genie Simba Belle Buzz Lightyear Woody Mike Wasowski Cruella De Ville Olaf Anna Princess Jasmine Lightning McQueen Elsa Activity 2: • Disney Who Am I: o Have each family member write the name of a Disney character on a sticky note. Don’t let others see what you have written down. o Take your sticky note and put it on another family members back. -
Pearson English Kids Readers
Teacher’s Notes Pearson EnglishTeacher’s Kids Readers Notes Pearson English Kids Readers Level 3 Suitable for: young learners who have completed up to 150 hours of study in English Type of English: American Headwords: 600 Key words: 11 (see pages 2 and 5 of these Teacher’s Notes) Key grammar: possessive ’s, Have to for obligation, quantifiers (more), simple adverbs, comparative adjectives, two clauses joined by because Summary of the story Background information The ants on Ant Island work all the time to find A Bug’s Life is a Disney-Pixar animated movie. It food for the grasshoppers who bully them. The was released in 1998 and was Pixar’s second full- ants are tired of this situation. Flik, a young ant, length movie production (the first was Toy Story). wants to help, but he is always making mistakes. It was directed by John Lasseter and written by When Flik loses all the food that the ants have Andrew Stanton. collected, he decides to go to the city to find some bigger bugs. The bigger bugs can fight the The story was inspired by Aesop’s fable, The grasshoppers and the ants can live in peace. Ant and the Grasshopper. In the fable, a starving grasshopper who spends all his time singing begs In the city, Flik meets a group of big circus bugs. some ants for food. The ants refuse as they have They agree to go back to Ant Island with him. used their time wisely to store food for winter. The circus bugs don’t understand that Flik wants The creators of A Bug’s Life thought it would be them to fight the grasshoppers – they think that he interesting to turn this idea round so that the wants them to perform for them! When the circus grasshoppers demand food from the ants. -
Masculinity in Children's Film
Masculinity in Children’s Film The Academy Award Winners Author: Natalie Kauklija Supervisor: Mariah Larsson Examiner: Tommy Gustafsson Spring 2018 Film Studies Bachelor Thesis Course Code 2FV30E Abstract This study analyzes the evolution of how the male gender is portrayed in five Academy Award winning animated films, starting in the year 2002 when the category was created. Because there have been seventeen award winning films in the animated film category, and there is a limitation regarding the scope for this paper, the winner from every fourth year have been analyzed; resulting in five films. These films are: Shrek (2001), Wallace and Gromit (2005), Up (2009), Frozen (2013) and Coco (2017). The films selected by the Academy of Motion Picture Arts and Sciences in the Animated Feature film category tend to be both critically and financially successful, and watched by children, young adults, and adults worldwide. How male heroes are portrayed are generally believed to affect not only young boys who are forming their identities (especially ages 6-14), but also views on gender behavioral expectations in girls. Key words Children’s Film, Masculinity Portrayals, Hegemonic Masculinity, Masculinity, Film Analysis, Gender, Men, Boys, Animated Film, Kids Film, Kids Movies, Cinema, Movies, Films, Oscars, Ceremony, Film Award, Awards. Table of Contents Introduction __________________________________________________________ 1 Problem Statements ____________________________________________________ 2 Method and Material ____________________________________________________ -
Light Pruning on Toy Story 4
Light Pruning on Toy Story 4 Vaibhav Vavilala [email protected] Pixar Animation Studios Culling lights in this shot dropped the light count from 8400 to 260, and render time from 98 hours to 48. ©Disney/Pixar. ABSTRACT constructed an object-to-light linking table in a prepass render, and Pixar films have recently seen drastically rising light counts via then used this table in-render to exclude certain lights from being procedural generation, resulting in longer render times and slower considered for a given piece of geometry. However, no automated interactive workflows. Here we present a fully automated, scalable, light culling system has existed in the RIS-era until now. and error-free light pruning pipeline deployed on Toy Story 4 that With regards to geometry culling, Pixar employs metrics pruning, reduces final render times by 15-50% in challenging cases, acceler- that removes out-of-frustum, occluded, or tiny objects in a scene ates interactive lighting, and automates a previously manual and to reduce memory usage and speed up renders. However, lights error-prone task. that meet the criteria for metrics pruning can easily contribute meaningful illumination, so such geometry-based techniques do CCS CONCEPTS not directly transfer to light culling. The Disney Hyperion renderer executes a pre-process before • Computing methodologies → Rendering. each render called Cache Points that locally computes important KEYWORDS lights for thousands of regions in a scene, reducing light selection cost and wasted light samples [Burley et al. 2018]. Our approach Rendering optimization, RenderMan, Universal Scene Description, instead caches lighting data in a cheap, low-resolution probe render, Katana, Light Path Expressions such that subsequent renders do not pay the cost of a pre-process. -
To Infinity and Back Again: Hand-Drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation
To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation Haswell, H. (2015). To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation. Alphaville: Journal of Film and Screen Media, 8, [2]. http://www.alphavillejournal.com/Issue8/HTML/ArticleHaswell.html Published in: Alphaville: Journal of Film and Screen Media Document Version: Publisher's PDF, also known as Version of record Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © 2015 The Authors. This is an open access article published under a Creative Commons Attribution-NonCommercial-NoDerivs License (https://creativecommons.org/licenses/by-nc-nd/4.0/), which permits distribution and reproduction for non-commercial purposes, provided the author and source are cited. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:28. Sep. 2021 1 To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar’s Pioneering Animation Helen Haswell, Queen’s University Belfast Abstract: In 2011, Pixar Animation Studios released a short film that challenged the contemporary characteristics of digital animation. -
MONSTERS INC 3D Press Kit
©2012 Disney/Pixar. All Rights Reserved. CAST Sullivan . JOHN GOODMAN Mike . BILLY CRYSTAL Boo . MARY GIBBS Randall . STEVE BUSCEMI DISNEY Waternoose . JAMES COBURN Presents Celia . JENNIFER TILLY Roz . BOB PETERSON A Yeti . JOHN RATZENBERGER PIXAR ANIMATION STUDIOS Fungus . FRANK OZ Film Needleman & Smitty . DANIEL GERSON Floor Manager . STEVE SUSSKIND Flint . BONNIE HUNT Bile . JEFF PIDGEON George . SAM BLACK Additional Story Material by . .. BOB PETERSON DAVID SILVERMAN JOE RANFT STORY Story Manager . MARCIA GWENDOLYN JONES Directed by . PETE DOCTER Development Story Supervisor . JILL CULTON Co-Directed by . LEE UNKRICH Story Artists DAVID SILVERMAN MAX BRACE JIM CAPOBIANCO Produced by . DARLA K . ANDERSON DAVID FULP ROB GIBBS Executive Producers . JOHN LASSETER JASON KATZ BUD LUCKEY ANDREW STANTON MATTHEW LUHN TED MATHOT Associate Producer . .. KORI RAE KEN MITCHRONEY SANJAY PATEL Original Story by . PETE DOCTER JEFF PIDGEON JOE RANFT JILL CULTON BOB SCOTT DAVID SKELLY JEFF PIDGEON NATHAN STANTON RALPH EGGLESTON Additional Storyboarding Screenplay by . ANDREW STANTON GEEFWEE BOEDOE JOSEPH “ROCKET” EKERS DANIEL GERSON JORGEN KLUBIEN ANGUS MACLANE Music by . RANDY NEWMAN RICKY VEGA NIERVA FLOYD NORMAN Story Supervisor . BOB PETERSON JAN PINKAVA Film Editor . JIM STEWART Additional Screenplay Material by . ROBERT BAIRD Supervising Technical Director . THOMAS PORTER RHETT REESE Production Designers . HARLEY JESSUP JONATHAN ROBERTS BOB PAULEY Story Consultant . WILL CSAKLOS Art Directors . TIA W . KRATTER Script Coordinators . ESTHER PEARL DOMINIQUE LOUIS SHANNON WOOD Supervising Animators . GLENN MCQUEEN Story Coordinator . ESTHER PEARL RICH QUADE Story Production Assistants . ADRIAN OCHOA Lighting Supervisor . JEAN-CLAUDE J . KALACHE SABINE MAGDELENA KOCH Layout Supervisor . EWAN JOHNSON TOMOKO FERGUSON Shading Supervisor . RICK SAYRE Modeling Supervisor . EBEN OSTBY ART Set Dressing Supervisor . -
An Analysis of Torture Scenes in Three Pixar Films Heidi Tilney Kramer University of South Florida, [email protected]
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School January 2013 Monsters Under the Bed: An Analysis of Torture Scenes in Three Pixar Films Heidi Tilney Kramer University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Feminist, Gender, and Sexuality Studies Commons Scholar Commons Citation Kramer, Heidi Tilney, "Monsters Under the Bed: An Analysis of Torture Scenes in Three Pixar Films" (2013). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/4525 This Thesis 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]. Monsters Under the Bed: An Analysis of Torture Scenes in Three Pixar Films by Heidi Tilney Kramer A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of Women’s and Gender Studies College of Arts and Sciences University of South Florida Major Professor: Elizabeth Bell, Ph.D. David Payne, Ph. D. Kim Golombisky, Ph.D. Date of Approval: March 26, 2013 Keywords: children, animation, violence, nationalism, militarism Copyright © 2013, Heidi Tilney Kramer TABLE OF CONTENTS Abstract ................................................................................................................................ii Chapter One: Monsters Under -
TOY STORY 4 from Cinema to Classroom Watching the Film
Name: Class: TOY STORY 4 From Cinema to Classroom Watching the film... Bo Peep changes a lot between the original Toy Story and Toy Story 4. Let's think about how she changes and why. How would you describe Bo Peep in Toy Story 1 (or during the flashback)? How would you describe Bo Peep in Toy Story 4? What do you think made her change? Which version did you prefer and why? Name: Class: TOY STORY 4 From Cinema to Classroom Inspired by the film... Bonnie is nervous on her first day of Kindergarten. As a result, she makes Forky and he becomes her new favourite toy Why was Bonnie nervous about her first day in Kindergarten? Think of an unusual favourite toy you had and why you liked them Forky is made out of re-purposed rubbish. Design your own simple toy using recyclables you find in class or at home. Name: Class: TOY STORY 4 From Cinema to Classroom Making the film... WATCH: Behind the Scenes of Toy Story 4 (5 mins) https://www.youtube.com/watch?v=qbzWRzmDnLE Pick out 3 different people from the video - state their job and summarise what they did on the film The film makers talked a lot about scale - making sure the characters and the sets were all the right size. They did research and created concept art to make sure things were a good fit. Now it's your turn to become a concept artist! Create concept art for what a Toy Story scene would look like in your classroom. -
White Savior, Savagery, & Criminality in Zootopia
White Savior, Savagery, & Criminality in Zootopia Nagata 1 A White Savior, Savagery, and Criminality in the City of “Multitudinous Opportunity” in Zootopia Matthew Nagata California Polytechnic State University, San Luis Obispo White Savior, Savagery, & Criminality in Zootopia Nagata 2 Everyone comes to Zootopia thinking they can be anything they want, well you can’t. You can only be what you are. (Nick Wilde, 2016, Zootopia) The Disney company is distinguished for being the frontrunner in profit and popularity for animated movies worldwide. In 2016, Walt Disney Animation Studios released a film called Zootopia (Spencer, 2016). Not only did Zootopia win an Academy Award for best animated feature film, but the film also received a high score of 98% from the popular online movie review website RottenTomatoes, and made more than three hundred million dollars at the box- office (RottenTomatoes, 2016). The animated film is such a success that the Shanghai Disneyland theme park is getting its own Zootopia-land, which will be a replica of the city from the film that people will be able to walk-through and experience (Frater 2019). The Case of the Missing Animals Zootopia follows a small bunny named Judy Hopps who becomes the first bunny cop in Zootopia. Zootopia is a city in which animals of prey and those who are predators are able to put aside their hunting differences, and live together in harmony, until various predators start to go missing and become in touch with their more savage, “primal,” and violent instincts. Judy Hopps, along with a shady fox named Nick Wilde, take on the case of the missing animals. -
The Voices of PIXAR Characters
The Voices of PIXAR Characters Not all of the names in the word bank are used in the puzzle. Email the bonus clue to [email protected] for a chance to win a Disney pin! 1 C R U S H E 2 B L 3 4 O S L I N K Y D O G H 5 6 7 M O L T A W O O D Y 8 I P U F 9 10 M U N T Z B O P E E P G R 11 R K C E A 12 13 P Y A S F R O Z O N E 14 15 B O B P A R R L L C 16 17 18 T E E L A S T I G I R L I 19 20 21 A T X M I K E J E S S I E 22 T E R L M A 23 24 25 O S U L L E Y M A R L I N 26 27 H U D S O N S C L I 28 E O S M Q Y G A R E A U E 29 D Y B U Z Z L I G H T Y E A R L L E E R N Woody Dash Buzz Lightyear Mr Potato Head Bo Peep Wheezy Slinky Dog Rex Jessie John Stinky Pete Flik Hopper Boggs Francis Slim Sulley Rosie Mike Boo Celia Atta Marlin Dory Gill Roz Crush Bob Parr Elastigirl Dim Frozone McQueen Hudson Andy Mater Sally Molt Zurg Remy Muntz Dug Manny Russell Carl Nigel Squirt Paul ★ Holds the distinction of voicing a character in every PIXAR animated feature.