Index of Film Titles

Total Page:16

File Type:pdf, Size:1020Kb

Index of Film Titles Index of Film Titles A note on film titles: Wherever possible contributors have been asked to provide relevant details about the production context of advertisements in the following for- mat:Title (Director, Studio, Advertising Agency, Year)E.g. Headbomz (Åsa Lucan- der, Aardman Animations, Valenstein & Fatt, 2017)It has not been possible to identify this information in all cases. There are several reasons for this. Archival practices for advertising remain less developed than for other forms of media his- tory, indicating the value of this collection in raising the awareness and importance of these works for our historical understanding. Equally, the changing production and institutional contexts of advertising also means these categories are not always defined or relevant. This is especially the case for older examples where practices did not recognise or define advertising agency, director, or even give titles to com- mercials. We invite readers to reflect on these historical and archival matters when reading. A Adventures of Andre and Wally B, The Abenteuer des Prinzen Achmed, Die / (1984), 271 Adventures of Prince Achmed, The Airscrew (1940), 154 (1926), 74 Aladdin and the Magic Lamp (1939), About to Uncover (1994), 289 62 Ali Baba and the Forty Thieves (1935), Abyss, The (1989), 290 60 Ack-Ack (1941), 152, 155 Ali vs Ali (2004), 189 Action Photos (1991), 182 Amazing Place (1991), 235–237 Add Abilify (2001), 199 Amazin’ Straws (1995), 291 © The Editor(s) (if applicable) and The Author(s), under exclusive 313 license to Springer Nature Switzerland AG 2019 M. Cook and K. M. Thompson (eds.), Animation and Advertising, Palgrave Animation, https://doi.org/10.1007/978-3-030-27939-4 314 INDEX OF FILM TITLES Antz (1998), 275 Creature Comforts (1989), 253 Arjuna the Archer (2009), 255 Crime Does Not Pay (c. 1940s), 21 Crimson Tide (1995), 275 CT5 Flight Simulator (1980), 270 B Babies (1990), 291 Bananas? Si Señor! (1956), 24 D Barcarole, Der / Barcarole, The (1924), Dance of the Waterlilies (1989), 290 79, 81, 82 Dancing Cards (1990), 290 Battle of the Somme, The (1916), 16 Dangerous When Wet (1953), 182 Be Like Mike (1991), 183 Dante’s Peak (1997), 275 Beavis and Butthead [Television Show] Daria [Television Show] (1997–2002), (1993-1997), 251 197 Beer Mukashimukashi / Beer Long, Long Dawn of Better Living, The (1945), 135 Ago (1956), 222 Debris Tunnelling (1943), 154, 155 Bílý jelen / White Deer (1932), 171 Deep Impact (1998), 275 Birth of the Robot, The (1936), 237 Disneyland [Television Show] (1954- Blackton Sketches, No. 1 (1896), 2 1958), 28, 89, 91, 92, 96, Boy Who Would Make Pictures, The 101 (1924), 115 DNA with Ethidium (1979), 269 Brilliance (1985), 271–273, 276 Dobrá kuchynˇe Vitello / Vitello, the Good Bursting (1993), 291 Cuisine (1930), 170 Dornröschen / Sleeping Beauty (1922), 81 C Dot to Dot (1982), 234 Calendar of the Year (1936), 86 15.6 Durant Motor Car, The (1923), California Raisins (1986), 251 115 Carnival in the Clothes Cupboard Dustbin Parade (1942), 149–151 (1941), 148 Charm’s BG * (1948), 23 E Check Me Out (1996), 292 Electricity and You (2011), 140, 141 Christmas is Coming (1951), 73 Eno’s “Fruit Salt” (1923), 116 Chuckling Straws (1993), 292 Clark’s Creamed Barley (1923), 114, 118 F Cloud (2011), 199 Fable of the Fabrics (1942), 148 Cold Comfort (1944), 150 Fairy of the Phone, The (1936), 81 Colour Box (1935), 75 Fantasmagorie (1908), 3 Colour Cry (1952), 238 Feeling Wound Up (2010), 201 Colour Flight (1938), 237 Filling the Gap (1942), 145, 146, 151, Compost Heaps (1943), 150 152 Control Room (1942), 154–156 Frankenstein (1992), 239 Cracks (1992), 288 From Rags to Stitches (1944), 149 INDEX OF FILM TITLES 315 G Intermezzo (2013), 201 Gali Gali Sim Sim – Abrahams It’s Alive (2003), 198 [Advertisement] (2011), 253 Gali Gali Sim Sim [Television Show] (2006-), 253 J Geheimnis der Marquise, Das / Secret of Jája milujecistotu ˇ / Johnnie Loves It the Marquise, The (1921/22), 79, Clean (1932), 171 81 James and the Giant Peach (1996), 185 Geri’s Game (1997), 284 Jerry (2016), 200 Good News Travels Far (1930), 121 Johnny Mnemonic (1995), 290 Grand Opening (1991), 288 Just Imagine (1947), 16 Grand Washing Contest (1930), 121 Groove Like Mike (2015), 183 K H Kaleidoscope (1935), 77 Hanibal v pralese / Hannibal in the Kapeesh? (1989), 181 Virgin Forest (1932), 171 Klip—Klap (1934), 170 Hare Ribbin’ (1944), 5 Knick Knack (1989), 284, 289 Harlequin (1930), 81 Kreise / Circles (1933), 61 HeMan and the Masters of the Universe Kubo and the Two Strings (2016), 63 [Television Show] (1983-1985), 5 Kuroi Otoko no Bur¯uzu / Black Man’s Hennessy’s Brandy (1923), 116 Blues (1964), 218 Here I Am: Be Your Own Fan (2008), 187 Here I Am: Conversations from the L Inside (2008), 187 Lady and the Tramp (1955), 97 Here I Am: Do Judo (2008), 187 Last Star Fighter, The (1984), 274 Here I Am: A Short Story of a Tall Girl Launching Magic (1993), 292 (2008), 187 L’il Penny (1995), 185 Here I Am: Show Me Your Dark Side Little Mermaid, The (1989), 288 Mother Nature (2008), 187 Hourglass (1992), 289 Little Richard the Genie (1992), 182 HPO, The (1938), 75, 77–82 Living Circle, The (1956), 24 Living Room (1995), 185 London, Midland and Scottish Railway I (1923), 116 I am not a role model (1992), 184 LongHaired Hare (1949), 272 Impossible Field (2005), 190 Long RunThe (2011), 189 Impossible is Nothing (2004), 189 Love on the Range (1938), 58 Impossible is Nothing: David Beckham Lurpak Butter Man (1985), 251 (2007), 191 Luxo Jr. (1986), 273, 275–277, 285, Improve (2016), 201 288, 289 316 INDEX OF FILM TITLES M Pin Box (1995), 289 Magic Atlas, The (1935), 58, 61 Pirates! In an Adventure with Scien- Magnets (1996), 289 tists!, The [also known asPirates! Middle East (1942), 153 Band of Misfits, The] (2012), 63 Mitternacht / Midnight (1933), 64 Poga: Free Your Life (2001), 251 Mobilising Procedure (1942), 154 Power Unit (1937), 152 Model Procedure for Water Relaying Prací pˇrehlídka / Washing Parade, A (1942), 154, 155 (1937), 171 Model Sorter (1943), 150 Prevention and Control of Distortion in Mony a Pickle (1938), 76 Arc Welding (1945), 143 Mr Dollar (1967), 37 Printed Rainbow (2006), 256 Mr…Goes Motoring (1924), 115, 118, Promˇena strýˇcka Bobyho / Metamorphosis 119 of Uncle Boby, The (1930), 172, MrsSewandSew(1944), 149 173 Multiple Symptoms (2016), 199 Pump (1990), 291 Murray Mints (1955), 5 Q N Quite a Package (1990), 290 Nana (1926), 77 Naval Operations (1941), 153, 155 Nezapomenutelný plakát / Unfor- R gettable Poster, The (1937), RabbitofSeville(1950), 5, 6, 272 172 Rainbow Dance (1936), 237 Night Mail (1936), 85 Reddy and Mr. Toot [Television Show] Nobody, Nobody, Nobody (1988), 181 (1972), 128 No Mars (1990), 181 Reddy Kilowatt; The Mighty Atom NorNW (1938), 85 (1959), 128, 139 North Sea (1938), 76 Reddy Made Magic (1946), 20, 128, NZ Apples (1961), 5, 37 132, 137 Red Fish (2016), 202 Red’s Dream (1987), 285, 289 O Refuse to Lie Down (2017), 203 On Parade (1936), 58 Restoration I (2016), 200 Orange (2006), 256 Return of the Jungle (2018), 257 Rollende Rad, Das / Rolling Wheel, The (1934), 77 P R¯oto Megusuri / R¯oto Eyedrops (1962), Pets (1993), 238 219 Philips Broadcast 1938, The (1938), 59, 62, 64, 65 Philips Cavalcade (1939), 59, 60, 62, S 64 Sandeman’s Port (1923), 116 INDEX OF FILM TITLES 317 Schichtal, or Radion (1925), 171 That Was Tyra Banks, Fool ! (1996), Scientific Explanation, A (1991), 182 186 Seik¯osha no Tokei / Seik¯oWatch(1953), Three Little Pigs (1933), 137 213, 216, 217, 219 Tin Toy (1988), 285, 288 Sesame Street [Television Show] Tocher: A Film Ballet, The (1938), 73, (1969-), 253 75 Shell Oil: The Story of Petroleum (1945), Tony De Peltrie (1985), 272, 274, 275, 20 277 SheRa: Princess of Power [Television Toot, Whistle, Plunk and Boom (1953), Show] (1985-1986), 5 92 Ship of the Ether, The (1934), 58, 64, Torys Bar (1958), 222–225 66 Tour of the West, A (1955), 94, 95 Simpsons, The [Television Show] Toy Story (1995), 284, 286, 292, 294 (1989-), 251 Toy Story Treats (1996), 284 Sizzle Film (2015), 300–304 Trees (1952), 37, 291 Sleeping Beauty, The (1938), 58, 62 Tres Caballeros (1930), 83 Snow White and the Seven Dwarfs Tron (1982), 274 (1937), 21 Space Jam (1996), 182, 184 2001: A Space Odyssey (1968), 304 U Springs (1938), 152 Uni P (1961), 219 Star Trek: Wrath of Khan, The (1982), USA in Circarama, The (1958), 95 270, 274 Steamboat Willie (1928), 7 Strýˇcek Boby podniká cestu aeroplánem V / Uncle Boby Takes a Plane Trip Virile Games (1988), 181 (1930), 172 V Kathakali I (1999), 251–254 Sukeroku (1958), 224, 225 Vol Libre (1980), 270, 271, 276 Susie the Little Blue Coupe (1952), 99 Voyager 2 Encounters Jupiter (1979), Su Zhendong de zhongwen daziji / Su 270 Zhendong’s Chinese Typewriter Všechno pro trhanec / Everything for a (1922), 4 Scrambled Pancake (1937), 172 Swinging the Lambeth Walk (1939), Vue: This is Not Cinema (2017), 300, 237 301 T Tale of the Amp Lion, The (1924), 123 W 2018 Terrain Reveal x The Mill War in the East (1941), 153 Blackbird (2017), 17 We’ve Got Taste (1993), 292 Tetsuwan Atomu / Astro Boy [Television What Ho She Bumps (1937), 58 Show] (1963-1966), 32, 214 White Wash Job, The (1929), 121 Texting (2016), 202 Wings (2011), 200 318 INDEX OF FILM TITLES X You Cannot Do This (1989), 181 X-Ray (1993), 239 Z Y Zauberblau, Der / Magic Pencil, The 2010: The Year We Make Contact (1925), 163 (1984), 274 Zoloft Dot (2001), 199, 203 Subject Index A Advertising campaigns, 8, 31, 35, 61, Aardman Animation, 5, 247, 251, 253, 116, 166, 167, 174, 176, 284, 257 287, 300 ABC Television network, 91 Advertising, serial, 168 Abel, Robert & Associates, 271 Aesthetic, 67, 156.
Recommended publications
  • 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
    [Show full text]
  • CLONES, BONES and TWILIGHT ZONES: PROTECTING the DIGITAL PERSONA of the QUICK, the DEAD and the IMAGINARY by Josephj
    CLONES, BONES AND TWILIGHT ZONES: PROTECTING THE DIGITAL PERSONA OF THE QUICK, THE DEAD AND THE IMAGINARY By JosephJ. Beard' ABSTRACT This article explores a developing technology-the creation of digi- tal replicas of individuals, both living and dead, as well as the creation of totally imaginary humans. The article examines the various laws, includ- ing copyright, sui generis, right of publicity and trademark, that may be employed to prevent the creation, duplication and exploitation of digital replicas of individuals as well as to prevent unauthorized alteration of ex- isting images of a person. With respect to totally imaginary digital hu- mans, the article addresses the issue of whether such virtual humans should be treated like real humans or simply as highly sophisticated forms of animated cartoon characters. TABLE OF CONTENTS I. IN TR O DU C T IO N ................................................................................................ 1166 II. CLONES: DIGITAL REPLICAS OF LIVING INDIVIDUALS ........................ 1171 A. Preventing the Unauthorized Creation or Duplication of a Digital Clone ...1171 1. PhysicalAppearance ............................................................................ 1172 a) The D irect A pproach ...................................................................... 1172 i) The T echnology ....................................................................... 1172 ii) Copyright ................................................................................. 1176 iii) Sui generis Protection
    [Show full text]
  • Annual Report and Accounts 2004/2005
    THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to
    [Show full text]
  • HGTV's Alison Victoria
    Summer 2015 HGTV’s Alison Victoria crashing kitchens, saving lives Protect Your Pet The Next Step to Avoid these common a No Kill Chicago household risks Englewood door-to-door outreach North Shore Adoption Center Opens! ABOUT If we could, we’d give it a thumbs up. FREDRICK - Adopted May 2015 CLOVER - Adopted May 2015 PAWS CHICAGO MISSION IS TO BUILD NO KILL COMMUNITIES – STARTING WITH A NO KILL CHICAGO – WHERE PETS ARE NO LONGER DESTROYED JUST BECAUSE THEY ARE HOMELESS. Since our founding in 1997, a year in which a staggering 42,561 dogs and cats were killed in Chicago, the number of homeless dogs and cats euthanized annually has dropped significantly, down 77 percent by 2014. But this drop does not mean our work is done: In 2014, 9,817 animals were still killed in Chicago and nearly 60,000 animals were killed in the state of Illinois. When will Chicago be considered a No Kill city? When we are saving every healthy and treatable animal. To reach that goal, PAWS Chicago is implementing a comprehensive No Kill model to build a No Kill Chicago. COMMUNITY ENGAGEMENT HEALTH & BEHAVIOR Community is at the core of everything we do. Engaging the public Part of the commitment to guaranteeing life for all PAWS pets is in the cause of homeless animals and providing them with the keeping them happy, healthy and continually moving toward new information to make lifesaving choices, like adoption and spay/neuter, loving homes. In order to achieve this goal, we have built a is what has brought about such transformation in our 17 years.
    [Show full text]
  • 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.
    [Show full text]
  • The Uses of Animation 1
    The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator.
    [Show full text]
  • Federal Register/Vol. 80, No. 158/Monday, August 17, 2015/Notices
    Federal Register / Vol. 80, No. 158 / Monday, August 17, 2015 / Notices 49269 and downloaded at this Justice 2015, Public Law 114–27. In accordance before January 1, 2014. If eligible under Department Web site: http:// with Section 405(a) of TAARA 2015, these requirements, OTAA will certify www.justice.gov/enrd/consent-decrees. which amended the Trade Act of 1974, the group of workers as eligible to apply We will provide a paper copy of the Public Law 93–618 (‘‘the Trade Act’’), for adjustment assistance under title II Consent Decree upon written request the Director of the Office of Trade of the Trade Act. and payment of reproduction costs. Adjustment Assistance, Employment Further, worker groups that did not Please mail your request and payment and Training Administration (OTAA) submit petitions between January 1, to: Consent Decree Library, U.S. DOJ— has taken the following action for 2014 and June 29, 2015, but wish to be petitions that were filed with the ENRD, P.O. Box 7611, Washington, DC considered under the group eligibility Secretary of Labor under section 221(a) 20044–7611. for workers based on the 2015 Program of the Trade Act on or after January 1, Please enclose a check or money order may file a new petition within 90 days for $5.00 (25 cents per page 2014, and before June 29, 2015, and are of enactment of the new 2015 law which reproduction cost) payable to the United identified in the Appendices to this was signed by President Barak Obama States Treasury. notice. OTAA has reopened investigations of on June 29, 2015.
    [Show full text]
  • The Grierson Effect
    Copyright material – 9781844575398 Contents Acknowledgments . vii Notes on Contributors . ix Introduction . 1 Zoë Druick and Deane Williams 1 John Grierson and the United States . 13 Stephen Charbonneau 2 John Grierson and Russian Cinema: An Uneasy Dialogue . 29 Julia Vassilieva 3 To Play The Part That Was in Fact His/Her Own . 43 Brian Winston 4 Translating Grierson: Japan . 59 Abé Markus Nornes 5 A Social Poetics of Documentary: Grierson and the Scandinavian Documentary Tradition . 79 Ib Bondebjerg 6 The Griersonian Influence and Its Challenges: Malaya, Singapore, Hong Kong (1939–73) . 93 Ian Aitken 7 Grierson in Canada . 105 Zoë Druick 8 Imperial Relations with Polynesian Romantics: The John Grierson Effect in New Zealand . 121 Simon Sigley 9 The Grierson Cinema: Australia . 139 Deane Williams 10 John Grierson in India: The Films Division under the Influence? . 153 Camille Deprez Copyright material – 9781844575398 11 Grierson in Ireland . 169 Jerry White 12 White Fathers Hear Dark Voices? John Grierson and British Colonial Africa at the End of Empire . 187 Martin Stollery 13 Grierson, Afrikaner Nationalism and South Africa . 209 Keyan G. Tomaselli 14 Grierson and Latin America: Encounters, Dialogues and Legacies . 223 Mariano Mestman and María Luisa Ortega Select Bibliography . 239 Appendix: John Grierson Biographical Timeline . 245 Index . 249 Copyright material – 9781844575398 Introduction Zoë Druick and Deane Williams Documentary is cheap: it is, on all considerations of public accountancy, safe. If it fails for the theatres it may, by manipulation, be accommodated non-theatrically in one of half a dozen ways. Moreover, by reason of its cheapness, it permits a maximum amount of production and a maximum amount of directorial training against the future, on a limited sum.
    [Show full text]
  • The Dilution of Culture and the Law of Trademarks
    File: Assaf_Dec2_2.doc Created on: 12/2/2008 10:28:00 PM Last Printed: 12/2/2008 11:15:00 PM 1 THE DILUTION OF CULTURE AND THE LAW OF TRADEMARKS KATYA ASSAF* ABSTRACT The cultural meaning of a trademark is built up by creating associative links between the mark and various positive cultural signs such as freedom, youth and happiness. This article argues that these links are reciprocal. That is, while the trademark begins to carry some of the meaning of the cultural signs it has been linked to, these cultural signs also absorb some of the meaning of the mark. This article develops a semiotic model, which helps to analyze the flow of meaning from non-commercial cultural signs into trademarks and from trademarks into other contexts. It argues that, by protecting the cultural mean- ing of trademarks, the legal system encourages the commercialization of culture and reinforces the dominance of consumer culture in our society. * Lecturer, Faculty of Law, the Hebrew University of Jerusalem. I would like to thank Yoav Dotan, David Enoch, Rinat Kitai-Sangero, Annette Kur, Marshall Allin Leaffer, Mark Lem- ley, Daphna Lewinsohn-Zamir, Ira Pinto, Michal Shur-Ofry, Rebecca Tushnet, Katja Weckström, Steven Wilf, Julia Zakharov, Helena Zakowska-Henzler and Eyal Zamir for their helpful comments, insights and suggestions. Volume 49—Number 1 File: Assaf_Dec2_2.doc Created on: 12/2/2008 10:28:00 PM Last Printed: 12/2/2008 11:15:00 PM 2 IDEA—The Intellectual Property Law Review INTRODUCTION ................................................................................................... 2 I. AN ANALYTICAL SEMIOTIC MODEL .................................................... 6 II. THE DILUTION OF CULTURE..............................................................
    [Show full text]
  • Free-Digital-Preview.Pdf
    THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ $7.95 U.S. 01> 0 74470 82258 5 www.animationmagazine.net THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ The Return of The Snowman and The Littlest Pet Shop + From Up on The Visual Wonders Poppy Hill: of Life of Pi Goro Miyazaki’s $7.95 U.S. 01> Valentine to a Gone-by Era 0 74470 82258 5 www.animationmagazine.net 4 www.animationmagazine.net january 13 Volume 27, Issue 1, Number 226, January 2013 Content 12 22 44 Frame-by-Frame Oscars ‘13 Games 8 January Planner...Books We Love 26 10 Things We Loved About 2012! 46 Oswald and Mickey Together Again! 27 The Winning Scores Game designer Warren Spector spills the beans on the new The composers of some of the best animated soundtracks Epic Mickey 2 release and tells us how much he loved Features of the year discuss their craft and inspirations. [by Ramin playing with older Disney characters and long-forgotten 12 A Valentine to a Vanished Era Zahed] park attractions. Goro Miyazaki’s delicate, coming-of-age movie From Up on Poppy Hill offers a welcome respite from the loud, CG world of most American movies. [by Charles Solomon] Television Visual FX 48 Building a Beguiling Bengal Tiger 30 The Next Little Big Thing? VFX supervisor Bill Westenhofer discusses some of the The Hub launches its latest franchise revamp with fashion- mind-blowing visual effects of Ang Lee’s Life of Pi. [by Events forward The Littlest Pet Shop.
    [Show full text]
  • 29 Nov 2015 Projection Series #1 Len Lye's
    25 Jul – 29 Nov 2015 Projection Series #1 Projection Series 1: Len Lye’s Colour Box 25 July – 29 November 2015 Daily,Projection 1pm Series 1: Len Lye’s Colour Box Len Lye’s Colour Box Running25 July –time: 29 November 51 minutes 2015 Daily,Projection 1pm Series 1: Len Lye’s Colour Box RunningLen25 July Lye Curator:–time: 29 November 51 minutesPaul 2015Brobbel AssistantDaily, 1pm Len Lye Curator: Sarah Wall RunningLen Lye Curator:time: 51 minutesPaul Brobbel AssistantImages: Unless Len Lye otherwise Curator: stated Sarah allWall material courtesyLen Lye Curator: of the Len Paul Lye Brobbel Foundation and the Govett-BrewsterAssistantImages: Unless Len Lye otherwise Art Curator: Gallery, stated Sarah from allWall material material madecourtesy and preservedof the Len by Lye The Foundation New Zealand and the ArchiveGovett-BrewsterImages: ofUnless Film, otherwise ArtTelevision Gallery, stated and from Soundall material material Ngā Taongamadecourtesy and Whitiāhua preservedof the Len Me by LyeNgā The FoundationTaonga New Zealand Kōrero. and the ArchiveGovett-Brewster of Film, ArtTelevision Gallery, and from Sound material Ngā TaongaPrinter:made and Whitiāhua preserved Me by Ngā The Taonga New Zealand Kōrero. Paperstock:Archive of Film, Television and Sound Ngā Typeface:TaongaPrinter: Whitiāhua Me Ngā Taonga Kōrero. ISBN:Paperstock: 978-0-908848-80-5 Typeface:Printer: Color Cry All Souls Carnival ISBN:PublishedPaperstock: 978-0-908848-80-5 in association with the Projection SeriesTypeface: Len Lye’s Colour Box, 2015. 1952-3Color Cry 1957All Souls Carnival ISBN:Published 978-0-908848-80-5 in association with the Projection Series© 2015 Govett-BrewsterLen Lye’s Colour ArtBox, Gallery, 2015. 1952-33Color min, 16mm Cry Kodachrome, sound 195716min,All Souls 16mm colour, Carnival sound thePublished artist, in writers association and contributors.
    [Show full text]
  • To Academy Oral Histories Marvin J. Levy
    Index to Academy Oral Histories Marvin J. Levy Marvin J. Levy (Publicist) Call number: OH167 60 MINUTES (television), 405, 625, 663 ABC (television network) see American Broadcasting Company (ABC) ABC Circle Films, 110, 151 ABC Pictures, 84 A.I. ARTIFICIAL INTELLIGENCE, 500-504, 615 Aardman (animation studio), 489, 495 AARP Movies for Grownups Film Festival, 475 Abagnale, Frank, 536-537 Abramowitz, Rachel, 273 Abrams, J. J., 629 ABSENCE OF MALICE, 227-228, 247 Academy Awards, 107, 185, 203-204, 230, 233, 236, 246, 292, 340, 353, 361, 387, 432, 396, 454, 471, 577, 606, 618 Nominees' luncheon, 348 Student Academy Awards, 360 Academy of Motion Pictures Arts and Sciences, 361-362, 411 Academy Board of Governors, 312, 342, 346-349, 357, 521 Academy Film Archive, 361, 388, 391, 468 Public Relations Branch, 342, 344, 348, 356 Visiting Artists Program, 614, 618 ACCESS HOLLYWOOD (television), 100, 365 Ackerman, Malin, 604 Activision, 544 Actors Studio, 139 Adams, Amy, 535 THE ADVENTURES OF HUCKLEBERRY FINN, 71, 458 THE ADVENTURES OF TINTIN, 126 Aghdashloo, Shohreh, 543 Aldiss, Brian, 502 Aldrich, Robert, 102, 107, 111 Alexander, Jane, 232, 237 Ali, Muhammad, 177 ALICE IN WONDERLAND (2010), 172, 396 ALIVE, 335 Allen, Debbie, 432 Allen, Herbert, 201, 205 Allen, Joan, 527-528 Allen, Karen, 318, 610 Allen, Paul, 403-404 Allen, Woody, 119, 522-523, 527 ALMOST FAMOUS, 525-526, 595 ALWAYS (1989), 32, 323, 326, 342, 549 Amateau, Rod, 133-134 Amazing Stories (comic book), 279 AMAZING STORIES (television), 278-281, 401 Amblimation, 327, 335-336, 338, 409-410
    [Show full text]